28. Slovenski glasbeni dnevi knjižica Prenesi

28. Slovenski glasbeni dnevi
The 28th Slovenian Music Days
Ljubljana, 12.–15. 3. 2013
Program SGD finančno omogočata / The programme of the Slovenian Music Days is supported by:
Ustanoviteljica Festivala Ljubljana je Mestna občina Ljubljana.
The Ljubljana Festival was founded by the Municipality of Ljubljana.
Preludij / Prelude
Glasbeni dogodki / Music Events
Mednarodni muzikološki simpozij / International Musicological Symposium
Glasbena delavnica za otroke / Music Workshop for Children
Programski odbor 28. Slovenskih glasbenih dni /
Programme Committee of the 28th Slovenian Music Days
Zunanji člani / External Members:
Damjan Damjanovič (Slovenska filharmonija / Slovenian Philharmonic)
Nenad Firšt (Društvo slovenskih skladateljev / Society of Slovene Composers)
dr. Primož Kuret
dr. Jernej Weiss
Patrik Greblo (RTV Slovenija)
Maja Kojc (RTV Slovenija)
Matej Venier (RTV Slovenija)
Festival Ljubljana: Darko Brlek
Ko bom tih in dober s teksti pesnika Ivana Minattija
in skladbo Stevena Loya Tathātā. Simfoniki RTV
Slovenija bodo na svojem koncertu predstavili vrsto
odlomkov iz slovenskih operet.
Na simpoziju sodeluje vrsta domačih in tujih
muzikologov. Nekateri med njimi so že naši stari
znanci, nekateri pridejo letos prvič. Med predavatelji
so poleg Slovencev gostje iz Avstrije, Nemčije, Italije,
Češke, Poljske, Ukrajine in Velike Britanije.
Letošnjo glasbeno delavnico za otroke bo pripravila
Glasbena matica pod motom Čudoviti svet opere.
Na njej se bodo otroci seznanili s Humperdinckovo
opero Janko in Metka.
Ob koncu simpozija bomo predstavili še Muzikološki
zbornik – Savinov zbornik in knjigo dr. Petra
Zimmermanna Generalmajor Friderik Širca.
Prof. dr. Primož Kuret
Here they are again - the Slovenian Music Days – for
the twenty-eighth year in a row. And like every other
year they have their motto this year as well, which is
»Music and /for/ the Stage«. We will discuss about
the music, designed for different scenes – opera,
operetta, musical, film and similar. The choice
of this year’s theme was influenced by the birth
anniversary of the two great opera masters - Verdi
and Wagner – celebrated this year all over the
world. Although their works are not mentioned in
our programme, they will be certainly present at the
Symposium.
PRELUDIJ / PRELUDE
Spet so pred nami Slovenski glasbeni dnevi:
tokrat že osemindvajsetič. Kot vsako leto imajo
svoj moto. To je Glasba in /za/ oder. Govor bo o
glasbi za takšno ali drugačno prizorišče, torej za
opero, opereto, muzikal pa tudi film in podobno.
Pri izbiri tem je igrala vlogo obletnica rojstva dveh
velikih opernih mojstrov: Verdija in Wagnerja, ki jo
praznujejo letos po vsem svetu. Naš program njunih
del sicer ne navaja, na simpoziju pa bosta gotovo
navzoča.
Slovenski glasbeni dnevi so v prvi vrsti namenjeni
slovenski glasbi, bili naj bi njen vsakoletni
praznik. Slovenski komorni zbor bo pod vodstvom
zborovodkinje Martine Batič predstavil vrsto novih in
nekaj starejših slovenskih zborovskih skladb. Spomnil
se bo tudi 85-letnice skladatelja Jakoba Ježa. Na
instrumentalnem koncertu, ki je posvečen večeru
mlajše skladateljske generacije, bodo nastopili
hornista Boštjan Lipovšek in Saar Berger, pihalni
kvintet Slowind in slovenski tolkalni projekt STOP.
SNG Opera in balet Ljubljana bosta uprizorila eno
najbolj priljubljenih slovenskih opernih del Gorenjski
slavček Antona Foersterja. Predstavil se bo še
Orkester Slovenske filharmonije, ki bo izvedel novo
delo Quatro immagine italijanskega skladatelja
in muzikologa, sicer pogostega in dragega gosta
Slovenskih glasbenih dni, Luigija Verdija, ter
odlomke iz Savinovega baleta Čajna punčka. V
drugem delu sporeda bo novo delo Janija Goloba
The Slovenian Music Days are primarily intended
for Slovenian Music and are therefore to present
its annual holiday. The Slovenian Chamber Choir
led by Martina Batič will feature a series of new
and some older Slovenian choral compositions.
It will also remind us of the 85th anniversary of the
composer Jakob Jež. The instrumental concert,
dedicated to the younger generation of composers
will feature the horn players Boštjan Lipovšek
and Saar Berger, Slowind Wind Quintet and the
Slovenian Percussion Project STOP. The Slovenian
National Theatre Opera and Ballet Ljubljana
will present one of the most popular Slovenian
operatic works Gorenjski slavček (The Nightingale
of Gorenjsko) by Anton Foerster. We will also see the
Slovenian Philharmonic Orchestra, performing a
new work Quatro immagini by the Italian composer
and musicologist - a frequent and dear guest
of the Slovenian Music Days - Luigi Verdi, and
fragments from Risto Savin’s ballet Čajna punčka
(The Tea Doll). Presented in the second part of the
programme will be a new piece by Jani Golob Ko
bom tih in dober (When I will be Quiet and Good)
based on the lyrics by the poet Ivan Minatti and
the composition by Steven Loy Tathātā. The RTV
Slovenia Symphony Orchestra will offer on their
concert a series of fragments from the Slovenian
operettas.
Participating in this year’s Symposium are numerous
domestic and foreign musicologists. Some of them
are our old friends and some will be visiting us
for the first time. We will be therefore welcoming
- beside our Slovenian speakers – the guests from
Austria, Germany, Italy, Czech Republic, Poland,
Ukraine and Great Britain.
This year’s Music Workshop for Children will
be prepared by the Glasbena Matica Music
Society under the motto »The Wonderful World
of Opera«, introducing to the young participants
Humperdinck’s opera Hansel and Gretel.
At the end of the Symposium we will present to
the public a Musicological Miscellany – Savin’s
Miscellany and the book by Dr. Peter Zimmermann
Major-General Friderik Širca.
Prof. Dr. Primož Kuret
Slovenski komorni zbor
Tomaž Habe, otvoritveni govor / opening speech
Martina Batič, dirigentka / conductor
Na sporedu / Programme
Jakob Jež: Pričakovanje / Expectation
Ambrož Čopi: Angeli* / Angels
Tomaž Habe: Nekaj je v zraku* / Something is in the Air
Črt Sojar Voglar: Svetla pesem* / Bright Song
Vitja Avsec: Upočasnitev* / Slowdown
Marijan Lipovšek: Je...? / Is it…?
Marijan Lipovšek: Pan
Marijan Lipovšek: Oznanjenje / Annunciation
....
Katarina Pustinek Rakar: Pesem o pesmi*/ A Poem on a Poem
Andrej Misson: Pesem štirih*/ Poem of the Four
Nana Forte: Kanon* / Canon
Peter Šavli: Zdravica*/ Toast
Matija Tomc: Vaške klepetulje / Village Chatterboxes
Rado Simoniti: Preproste besede / Simple Words
* krstna izvedba / first performance
V sodelovanju z / In cooperation with:
Koncert ob odprtju 28. Slovenskih glasbenih dni
Opening Concert of the 28th Slovenian Music Days
SLOVENSKI KOMORNI ZBOR
SLOVENIAN CHAMBER CHOIR
Torek, 12. marca, ob 19.00
Slovenska filharmonija
Rezervacije brezplačnih vstopnic: 01 241 56 60, info@dss.si
Tuesday, 12 March, at 7.00 pm
Slovenian Philharmonic
Free tickets booking: +386 (0)1 241 56 60, info@dss.si
Slovenski skladatelj Jakob Jež (1928), letošnji
jubilant, je leta 1954 končal študij glasbene
zgodovine na ljubljanski Pedagoški fakulteti, ob
tem pa je študiral kompozicijo pri Marijanu Lipovšku
in Karlu Pahorju. Znatnejši del svojega ustvarjanja
je posvetil zborovski glasbi za otroške, mladinske
in odrasle zbore, odmevala pa so tudi nekatera
njegova večja vokalno-inštrumentalna dela, zlasti
Do fraig amors (1968), Brižinski spomeniki (1971)
in Pogled zvezd (1974). Vse življenje je deloval kot
pedagog in je bil profesor na Pedagoški fakulteti
Univerze v Ljubljani. Leta 1991 je prejel Prešernovo
nagrado za življenjsko delo.
»Če pomislim nazaj, so me sprva prevzemali
zapleteni moderni zvoki. Navdajala me je izrazna
brezbrižnost. Oblikovalni čut pa mi je narekoval
– jasnost. Kako najti v danem zvočnem svetu
sveže rešitve? Nagnjenje k izdelavi detajla mi je
narekovalo komponiranje malih oblik. Nastale so
klavirske sonatine in suite, potem sem se nekaj
let posvečal samospevu in nato vse bolj različnim
komornim zasedbam … Od kompozicijskih sredstev
me je sprva zadovoljevalo izročilo klasikov
moderne. V zadnjih letih pa me vse bolj privlačujejo
tudi najnovejša dognanja, zlasti osvoboditev od
tradicionalne ritmično-metrične vklenjenosti. Mislim,
da daje le možnost svobodne izbire vseh sredstev
tudi večjo sproščenost ustvarjanja.«
Iz tega je možno sklepati, da je bila patetičnost Ježu
tuja, mnogo bliže mu je bila nekakšna ekspresivna
igrivost pa tudi meditativni in pastoralni svet.
»Leta 1980 nastala skladba Pričakovanje je odsev
prijateljstva z avtorji četverice, ki so jo sestavljali
Pavček, Menart, Kovič in Zlobec. Spoznali smo se
ob povojnih gostovanjih v različnih slovenskih krajih.
Moja naloga je bila glasbena spremljava oziroma
improvizacija ob njihovem recitiranju in se razume,
da sem ob poznejšem komponiranju besedil rad
večkrat posegel po njihovih pesmih. Tako je nastala
tudi uglasbitev Pričakovanje, ki izraža zanos upanja
v dobro prihodnost. Krstil jo je APZ Tone Tomšič z
dirigentom Jožetom Fürstom. Tokrat pa se veselim
nove izvedbe z dirigentko Martino Batič.«
Ambrož Čopi (1973) je dejaven na različnih
področjih in povsod s svojo strokovnostjo,
zagnanostjo in energijo prepriča in dosega
vrhunske rezultate. Njegova strast in predanost
glasbi navdušujeta in navdihujeta številne mlade
glasbenike doma in po Sloveniji, da mu sledijo,
in poslušalce, ki jih njegova glasba ali srčna
interpretacija prepriča in prevzame, da prisluhnejo.
Težko bi našli glasbenega ustvarjalca, ki se s tako
vnemo predaja umetnosti in hkrati razdaja svoje
znanje in ljubezen do nje ljudem.
Ambrož Čopi je leta 1996 diplomiral iz kompozicije
na Akademiji za glasbo v Ljubljani v razredu Daneta
Škerla, podiplomski študij pa je končal v razredu
Uroša Rojka. Je dobitnik naziva mladi glasbenik leta
1995, 1997. je prejel Prešernovo nagrado Univerze v
Ljubljani in priznanje občine Bovec.
Čopijeve vokalne in inštrumentalne skladbe so
doživele izvedbe na številnih koncertih, festivalih ter
tekmovanjih doma in v tujini. Vokalne skladbe so
predstavljene na dveh zgoščenkah Lirični akvareli
(APZ Tone Tomšič, dir. Stojan Kuret) in So ptičice še
snivale (ČarniCe, dir. Stojan Kuret).
Čopi je izjemno cenjen in iskan zborovski dirigent,
ki je vodil in še vodi nekatere pomembne slovenske
zbore. Od leta 2004 je dirigent Akademskega
pevskega zbora Univerze na Primorskem, vodi pa
še MeMPZ Gimnazije Koper in Zbor KGBL. Z zbori je
dosegel številne nagrade na državnih pa tudi tujih
tekmovanjih.
Ambrož Čopi je nedvomno tudi odličen in pri
mladih zelo priljubljen pedagog pa tudi organizator
glasbenih dogodkov in glasbeni motivator.
»Moj prvi angel je prva skladba v ciklu Angeli na
besedilo Toneta Pavčka (iz zbirke Angeli).
Pesniška zbirka Angeli me je navdihnila in
nagovorila. Misel, da je ob nas vedno nekdo, ki bedi
nad našim početjem, nas vedno spremlja. Pavček
je dal to vlogo angelom.
Ob prebiranju pesmi mi je postala ideja ljuba. S
posebnim pričakovanjem, kako bodo zabrnele
besede v moji glasbeni pripovedi, sem se lotil
projekta. Prva v ciklu Angeli se je zlila na papir
neobremenjeno, kot da bi me kdo nagovoril in
vodil. Tako, spontano, nežno, barvno bogato, jo
ponujam izvajalcem in publiki v dar. Takšnega,
kot sem bil tudi sam sprejel,« pravi o svoji noviteti
skladatelj Ambrož Čopi.
Tomaž Habe (1947) je študij kompozicije končal leta
1970 na Akademiji za glasbo v razredu Blaža Arniča
in Lucijana M. Škerjanca, dirigiranje pa pri Danilu
Švari. Podiplomsko izobraževanje je nadaljeval pri
L. M. Škerjancu in Urošu Kreku. Pozneje je deloval
v pedagoških službah in bil leta 1997 nagrajen z
nagrado RS za področje šolstva. Leta 2002 mu
je senat Akademije za glasbo podelil priznanje
pomembnih umetniških del na področju kompozicije.
Habe je član številnih komisij in združenj, je član
upravnega odbora DSS, vodja zborovske sekcije
in urednik zbirke Ars SlovenicA. Skladateljski opus
obsega prek 380 del, tako simfoničnih, komornih,
zborovskih kot tudi skladb za pihalni, harmonikarski
ter mandolinsko-tamburaški orkester.
»V mojem opusu je kar nekaj del, ki jih je navdihnila
Pavčkova poezija. S pesnikom sva prijateljevala,
zato me je njegova smrt zelo prizadela. V njegov
spomin sem za koncert zborovskih novitet predlagal
skladateljem, naj za peti, bienalni koncert uglasbijo
njegovo poezijo in poezijo treh njegovih prijateljev
– Pesmi štirih. Sam sem izbral Pavčkovo besedilo
starejšega datuma, ki sem ga hranil v mapi pesmi,
ki čakajo na uglasbitev. Mešani zbor Nekaj je v
zraku po daljšem uvodnem delu preide v razgibani
‘čuti se, sluti’. Osrednji, spevni del je durovski,
pomladni ‘kot vonji cvetlic’ in molovski ‘odsev v
človeških očeh’. Sledi ponovitev začetne glasbene
misli z večnim vprašanjem ‘Je to za pesem
skrivnostni navdih, njen dih ali vzdih?’«
Črt Sojar Voglar (1976) je leta 2000 diplomiral
iz kompozicije in glasbene teorije v razredu prof.
Marka Mihevca na Akademiji za glasbo v Ljubljani.
Leta 2004 je na isti ustanovi magistriral iz glasbene
teorije. Izpopolnjeval se je na glasbenih tečajih
pri profesorjih Urošu Rojku, Francisu Burtu ter iz
jazzovske glasbe pri Amedeu Tommasiju. Poučuje
glasbenoteoretične predmete na Konservatoriju
za glasbo in balet v Ljubljani ter na Akademiji
za glasbo v Ljubljani kot habilitirani docent za
glasbeno teorijo. V letih 2002–10 je bil tajnik
Društva slovenskih skladateljev. Njegov skladateljski
opus obsega okrog 170 skladb na področju
orkestralne, komorne, solistične instrumentalne in
vokalne glasbe, piše pa tudi scensko, filmsko in
plesno glasbo ter ustvarja priredbe različnih žanrov
in zvrsti. Njegova glasbena dela redno izvajajo
na pomembnih koncertih in festivalih v Sloveniji in
tujini, zanje pa je Sojar Voglar prejel več nagrad
in priznanj, med drugim priznanje za pomembna
umetniška dela Univerze v Ljubljani leta 2006.
»Zborovska glasba mi je vedno bliže, saj sem z
rahlimi presledki že skoraj sedem let aktiven pevec
v Zboru sv. Nikolaja iz Litije. Čutim, da vse bolj
razumem človeški glas kot izpovedno sredstvo
z uporabo različnih glasbenih sredstev, ki pa so
gotovo dostopna vsakomur. Že dlje pa sem si želel
uglasbiti besedilo Cirila Zlobca, s katerim sva si že
osem let soseda. Tega mu sicer nisem povedal – naj
bo presenečenje!«
Vitja Avsec je bil rojen leta 1970 v Ljubljani in
je študij kompozicije na Akademiji za glasbo
v Ljubljani končal v razredu Daneta Škerla. Je
uspešen skladatelj instrumentalnih del, zlasti
za harmoniko, nocoj pa ga bomo spoznali kot
avtorja novitete za mešani zbor. Kot pravi, je »v
začetku iskal razmerje med nasprotji; med obliko
in vsebino, med preprostim in kompleksnim … Ne
spuščam se toliko v raziskovanje zvoka. Zanima me
oblikovanje – organizacija materiala in artikulacija
forme. Stvari skušam spraviti do čim višje stopnje
preglednosti oziroma ‘preslišnosti’,« in nadaljuje: »Pri
komponiranju Pavčkove pesmi Upočasnitev sem
skušal oblikovati glasbeno govorico, ki bi bila pesmi
primerno podrejena, da bi ostalo besedilo vseskozi
razumljivo in bi bil slišen vsak, še tako droben
besedni pomen. Glasba poskuša sopripovedovati
in sooblikovati zgodbo, ki spregovori o večnem in
minljivem. Zgodbo, ki v mirnem pričakovanju zre
v prihodnost in s slutnjo že naznanja sporočila od
tam čez, od onstran. Od nekdaj sem občudoval
Pavčkovo pokončno držo, njegovo blagozvočno
govorico, jezik v najžlahtnejši podobi. Jezik, ki ga
lahko govori in pesni le, kdor mu je popolnoma
predan. Njegova predanost slovenstvu in naši zemlji,
vse njegovo pesniško in intelektualno delovanje ne
bosta nikoli pozabljena.
Ta uglasbitev je moj skromni poklon klasiku Tonetu
Pavčku.«
Katarina Pustinek Rakar se je po končani nižji
glasbeni šoli iz klavirja izobraževala na Srednji
glasbeni šoli v Ljubljani, kjer je enega za drugim
vpisala tri glavne predmete: teoretsko smer, oboo
in solopetje. Kasneje je diplomirala še na Akademiji
za glasbo iz kompozicije in glasbene teorije.
Aktivno je sodelovala z najboljšimi slovenskimi zbori
ter bila članica Slovenskega komornega zbora.
Izobraževala se je na seminarjih doma in v tujini
iz solopetja, zborovskega petja, zborovodstva,
solfeggia in kompozicije.
Njen skladateljski opus obsega predvsem vokalno
glasbo (samospevi, otroške pesmi, mladinski, ženski,
moški in mešani zbori), saj ima prav z njo največ
izkušenj pa tudi naročil zanjo. Večina njenih skladb
je objavljena v različnih publikacijah ali izdana v
Edicijah Društva slovenskih skladateljev in pri založbi
Astrum iz Tržiča.
Katarina Pustinek Rakar je zaposlena na
Konservatoriju za glasbo v Ljubljani, kjer poučuje
solfeggio in zbor.
»V skladbi Pesem o pesmi sem poskušala prikazati in
opisati svoje občutke, kako nastaja pesem, skladba ...
To besedilo me je pritegnilo zato, ker poet tako dobro
opisuje rojevanje nekega umetniškega dela: iz nič do
poskusov, prek bolečine do upanja. Trudila sem se
preliti Pavčkove besede v glasbo, jim vdihniti barve,
življenje, poudariti njihov pomen in sporočilo. In tako
je eno umetniško delo spodbudilo rojstvo novega.«
»Vokalna muzika me glede na izrazne možnosti
izredno privlači,« je zapisal Marijan Lipovšek
(1910–1995) in nadaljeval: »Te možnosti pa so bolj
vsebinske kot čisto muzikalne. Bolj kot barvitost
vokalnega stavka – ta je seveda po svoje tudi važna
– je pomembna dikcija teksta, saj se mu podreja
celotna glasbena gradnja. Mislim, da je treba
komponirati tako, kot bi človek pojoč govoril. Zato
me seveda bolj privlačijo dramska in globlja lirična
besedila, taka, kakršna so Kosovelova, kot pesmi
zgolj miselne vsebine. Pri komponiranju zborov sem
ostal v mejah tonalnosti, saj to brez dvoma olajša
pevnost in obenem omogoča bolj neposreden izraz
besedila. Seveda pa sem se odmikal od preveč
obrabljenega načina harmonskih zvez.« Lipovškove
zborovske skladbe so zlasti ekspresivne izpovedi,
glasbeni jezik se podreja besedilu in je oblikovno
izbrušen, oprt na elemente slovenske folklore,
sodoben, a hkrati zasidran v tradiciji. V sedemdesetih
in osemdesetih letih se je Lipovšek rad loteval poezije
Kajetana Koviča. Kot piše Aleš Nagode, »lahko
opažamo stopnjevanje ekspresivnosti, ki se glasbeno
kaže v bolj razrahljani strukturi, zahtevnejši harmoniji
in večji ritmični diferenciranosti. Hkrati pa vedno
znova naletimo na ponotranjene impresije, v katerih
se skladatelj predaja slikanju vzdušij iz narave in celo
tonskemu slikanju.«
Andrej Misson (1960) je po višješolski diplomi iz
dirigiranja pri Antonu Nanutu poučeval solfeggio
in oblikoslovje na Orglarski šoli in Srednji glasbeni
in baletni šoli v Ljubljani. Po mojstrskem tečaju
iz pevske korepeticije v Gradcu in delovanju kot
čembalist v ansamblu za baročno glasbo Ramovš
consort in Ljubljanskem baročnem triu je leta 1987
diplomiral na Akademiji za glasbo v razredu Daneta
Škerla. Po vrnitvi iz JLA je bil zborovodja različnih
zborov, leta 1992 pa je postal asistent za predmet
kontrapunkt pri Danetu Škerlu, kjer se je leto pozneje
tudi zaposlil. Leta 1997 je pri svojem mentorju
doktoriral in postal docent. Med letoma 1998 in
2002 je bil član in podpredsednik upravnega
odbora DSS. Od 2001. do 2003. je bil prodekan
za študijsko področje, nekaj let pozneje tudi član
in namestnik predsednika Sveta za glasbeno
izobraževanje tedanjega Ministrstva za kulturo.
Leta 2007 ga je Društvo univerzitetnih profesorjev
za vestno in požrtvovalno delo imenovalo za
zaslužnega člana.
Med Missonovimi najpomembnejšimi deli so
skladbe s področja orkestralne umetnosti, bogat
je skladateljev opus vokalno-inštrumentalnih del,
zborovskih skladb pa tudi komorne literature. O svoji
ustvarjalnosti pravi: »Če se pojem bogate glasbene
ustvarjalnosti nanaša na količino, bo skladb tudi
v prihodnje toliko, kolikor jih bo Bog dal. Če pa
se nanaša na glasbeno vsebino del, potem sem
prepričan, da so moja dela še kako bogata. Moj
ideal ostaja biti celovit in kreativen glasbenik, ne le
praktik, ampak tudi teoretik.«
Andrej Misson je aktiven član v številnih društvih, ki
se dotikajo glasbene dejavnosti. Je tudi dobitnik
bronastega priznanja občine Kamnik za uspešno
vodenje PSPD Lira.
»Glasba je svet, v katerem lahko ustvarimo marsikaj
takega, česar v stvarnosti ni; v njem lahko pesmi
štirih povežem v eno samo pesem štirih. Nosilka
štirih tem, zlitih v eno, je kapljica, kapljica spomina
(Kovič), drobna kapljica (Zlobec), kapljica iz višin
(Menart), srebrna kapljica (Pavček), ki se je v štirih
pesmih, štirih zgodbah, štirih svetovih pri vsakem
utrnila nekoliko drugače. Na njih sem zgradil svojo
pesem, upam, da dovolj zvočno in glasbeno
zanimivo. V svoji kritiki o zbirki Pesmi štirih je Janko
Kos zapisal, da štirje pesniki niso revolucionarni,
prelomni in ne novotarski; kot bi zapisal misel tudi za
mojo glasbo. Upam, da bodo v njej lepo zazvenele,
se zvočno izkapljale pesmi naših štirih pesnikov. In
še verjameš, da se bo utrnila ti tista sreča, ki si jo
želiš … (Tone Pavček)«
Skladateljica Nana Forte izhaja iz skladateljske šole
ljubljanske Akademije za glasbo, iz razreda prof.
Marka Mihevca. Podiplomsko se je izpopolnjevala
na Visoki šoli za glasbo C. M. von Weber v Dresdnu
pri prof. L. Voigtlaenderju in na Univerzi umetnosti
v Berlinu, kjer je julija 2009 z odliko končala
mojstrski študij v razredu prof. W. Zimmermanna.
Vrnila se je v Slovenijo, kjer uspešno nadaljuje
svojo umetniško pot. Njen dosedanji opus obsega
predvsem solistična, komorna, vokalna in vokalnoinštrumentalna dela. Sodelovala je v več izbranih
pevskih zborih, prav zato je kot skladateljica že
od zgodnjih opusov tesno povezana s človeškim
glasom. Njene skladbe doživljajo izvedbe po
vsej Evropi, predstavljene so bile na različnih
koncertih in na slovenskih in mednarodnih festivalih,
predvajane pa so bile tudi na evropskih radijskih
postajah. Nekaj jih je izšlo na zgoščenkah in bilo
natisnjenih v različnih publikacijah. Med zadnjimi
vidnejšimi uspehi izstopa sodelovanje pri projektu
desetih evropskih radijskih postaj in festivalov
MusMA 2011 (Music Masters on Air), kjer je Nana
Forte zastopala slovenske barve. Za to priložnost ji
je Festival Ljubljana podelil naročilo nove skladbe
za klavir solo. Skladba z naslovom A broken car je
doživela uspešne izvedbe na kar petih uveljavljenih
evropskih festivalih v Belgiji, Italiji, Srbiji, na
Portugalskem in v Sloveniji.
O nocojšnji noviteti piše Nana Forte takole:
»Skladba je napisana na besedilo pesmi Križemkraž
pesnika Kajetana Koviča. Pesem je s svojo ritmično
in vsebinsko zasnovo takoj ponudila idejo, da
zapišem neke vrste kanon. Skladba je sestavljena
iz dveh delov, v prvem se predstavijo posamezni
krajši, malo spremenjeni motivi kanona in celotni
tekst, v drugem delu pa kanon zazveni v celoti in se
zaključi s kodo. Zbor naj bi skušal doseči izvedbo v
čim hitrejšem tempu, kar pa je zaradi obilice teksta
kar precejšen izziv.«
Peter Šavli (1961) je na Akademiji za glasbo v
Ljubljani diplomiral iz glasbene pedagogike (1985)
in kompozicije (1988, prof. Alojz Srebotnjak). Sledita
umetniška diploma na univerzi Yale v ZDA (1993–95)
in doktorat iz glasbenih umetnosti na univerzi Cornell
v ZDA (1995–99). Izpopolnjeval se je pri Brianu
Ferneyhoughu v Kaliforniji. Na univerzi Syracuse
je leta 1999 kot gostujoči predavatelj predaval
glasbeno teorijo. Pri Nika Records je izdal otroški
zgoščenki Navihanke in Pedenjped, pri Edicijah DSS
pa avtorsko zgoščenko Devant une neige.
Šavli je imel izvedbe in arhivska snemanja svojih
del s slovenskimi simfoničnimi orkestri, leta
2010 je Opera SNG Ljubljana izvedla mladinsko
komorno opero Pastir na skladateljev libreto in ta
je pri mladini doživela zelo lep odziv. Leta 2012
je Simfonični orkester RTV s solistom Andražem
Poljancem pod vodstvom Lorenza Castriote izvedel
tolkalni koncert Čakra. V opusu zadnjih let je ustvaril
nekaj komornih del, zborovskih skladb ter veliko
skladbic za otroke in mladino.
Peter Šavli je docent za teoretične predmete
Akademije za glasbo v Ljubljani in je zaposlen
kot profesor na Konservatoriju za glasbo in balet
v Ljubljani. Dejaven je tudi v Društvu slovenskih
skladateljev, kjer je od leta 2003 umetniški vodja
Koncertnega ateljeja.
»Tokrat vstopam v poezijo ob briljantnih verzih
mojstra Koviča. Poezija je kot vesolje, vsaka pesem
je osončje in beseda je planet. Zlogi s svojo
melodijo so kot lune, ki določajo kozmični red
naše lepe slovenske besede. Kovičeva Zdravica
nam naslika par moškega in ženske v brezbrižnih
trenutkih ob pijači z živo glasbo romskega
muzikanta. Ob vsakem kozarcu postane skupna
prihodnost para manj gotova. Zato prešerno vabi
k novemu kozarcu, kot da par živi samo ta dan, kot
da lahko te trenutke nekoč zalijejo solze. Naj se sliši
klokotanje pijače, naj violinist še eno zaigra, na
zdravje!«
Matija Tomc (1899–1986) je intenzivni študij glasbe
začel šele po tem, ko je bil posvečen v duhovnika, v
dvajsetih letih 20. stoletja. Klavir se je učil pri Janku
Ravniku, harmonijo pri Stanku Premrlu. Med letoma
1926 in 1930 se je izpopolnjeval še na Dunaju na
Visoki šoli za glasbo in upodabljajočo umetnost.
Pozneje je skrbel za glasbeno dejavnost na Škofijski
klasični gimnaziji, poučeval je na šoli Glasbene
matice, na Državnem konservatoriju in Akademiji
za glasbo. Po vojni ga je tedanja oblast tako rekoč
izključila iz javnega življenja in vse od leta 1946
do smrti je živel kot kaplan in župnik odmaknjeno
življenje v Domžalah. Vendar je ves čas komponiral
in njegov opus posvetnih in cerkvenih skladb je
ogromen.
Tomčeve posvetne zborovske skladbe so med
seboj zelo različne. Nikakor ni mogoče v njih
zaznati razvojnega loka, saj so si nekatera dela zelo
podobna, čeprav so nastala v velikem časovnem
razmiku. Zato se zdi bolje razdeliti skladbe po vsebini,
ki je razmišljajoče narave, ekspresivnih občutij,
pridružujejo se še uglasbitve baladnih besedil. Na
drugi strani pa je imel Tomc rad besedila, ki so
opisovala podeželski svet in njegove posebnosti. Ti
zbori so vedri, hudomušni, večkrat zavestno preprosti,
pa vendarle umetniško prepričljivi.
Rado Simoniti (1914–1981) je ideje za svojo
ustvarjalnost iskal in našel v bogatem
poustvarjalnem delu. Takole pravi: »Delo s
katerimkoli ansamblom vpliva na ustvarjalnost
vsakega umetnika. Vzroki so včasih potrebe,
včasih reproduktivna moč ansambla, ki povleče
ustvarjalca v nove zahteve in mu daje tudi novih
pobud.« In teh pobud je bilo v Simonitijevem
življenju nedvomno mnogo: že v gimnazijskih
letih je vodil zbore, med vojno partizanske pevske
zbore, bil je zborovodja zbora Slovenskega
narodnega gledališča, po vojni stalni dirigent
opere Slovenskega narodnega gledališča v
Ljubljani. Posebno naklonjenost je čutil do italijanske
operne umetnosti in zato je razumljivo, da je imela
melodična linija zanj poseben pomen in navdih.
Kot je zapisal Rafael Ajlec, »je to tista glasbena
prvina, ki se ji nikdar ne izneveri; v nji mu je težišče
izraza in z njo dosega najlepše učinke. Odeva jo v
harmonije, ki so lahko včasih tudi prav napete in
kromatične, vendar vedno blagozvočne in mehke.«
Vse to le še bolj podkrepijo skladateljeve besede:
»Muzika se piše s srcem, ne pa z logaritmi v roki!«
Seveda pa se je Simonitijev glasbeni jezik napajal
še kje drugje, pri slovenskih glasbenikih Emilu
Adamiču, Maroltu, tudi Ostercu, sledove pa so
pustila tudi njegova službovanja v drugih delih
tedanje Jugoslavije. »Študij jugoslovanske zborovske
glasbe in pa osebni stik s hrvaškimi, srbskimi in
makedonskimi komponisti sta mi dala mnogo
pobud pri delu,« razmišlja umetnik.
Monika Kartin
The Slovenian composer Jakob Jež (1928), who is
celebrating his jubilee this year, has completed his
studies in music history at the Faculty of Education
in Ljubljana, in 1954. During that time he also studied
composition with Professors Marijan Lipovšek and
Karl Pahor. Although he dedicated himself more
to the creation of choral music for children, youth
and adult choirs, quite notable are also some of
his major vocal and instrumental compositions,
especially Do fraig amors (1968), Brižinski spomeniki
(The Freising Manuscripts) (1971) and Pogled zvezd
(Stars’ Gaze) (1974). Since he has devoted all his life
to teaching as well, he served as a Professor at the
Faculty of Education of the University of Ljubljana.
In 1991, he received the Prešeren Award for his life’s
work.
»When I look back over my life, I was initially taken
up by the complicated modern sounds. I was filled
with expressive indifference. On the other hand, my
sense of forming demanded strict clarity. How was I
then to find fresh solutions in the given sound world?
My tendency towards producing details commanded composing of small forms. And thus, the piano
suites and sonatinas were born. Further on, I devoted
myself - at least for a few years - to composing of
solo songs and then to increasingly different chamber ensembles. As far as the compositional means
are concerned, I was first satisfied with the tradition
of classical modernism. In recent years, however, I
am more and more attracted to the newest findings
as well, and especially to the liberation from the
traditional rhythmic and metric consistency. In my
opinion, it is only a free choice of all the existing
resources that actually enables a greater ease of
creating. «
Therefore, we can conclude that the composer was
not communicating his ideas through pathos, but
rather through his own kind of expressive playfulness
as well as meditative and pastoral world.
In 1980, the composer conceived the composition,
entitled as Pričakovanje je odsev prijateljstva (Expectation is a Reflection of Friendship) in collaboration
with the group of four authors, inclu­ding Pavček, Menart, Kovič and Zlobec. “We got acquainted at the
post-war tours around various Slovenian towns. My
task was to accompany them with music or rather
improvise to their reciting; therefore it is quite understandable that I often used their poems for my later
compositions. Thus the Pričakovanje (Expectation)
was set to music as well, reflecting the enthusiasm
of hope in a better future. It was premiered by the
Academic Choir Tone Tomšič lead by Maestro Jože
Fürst. This time I look forward to its new performance
under the baton of Martina Batič.”
Ambrož Čopi (1973) is active in various fields, where
he not only convinces with his professionalism,
enthusiasm and energy, but also achieves superior
results. His passion and dedication to music thrills
and inspires many young musicians both at home
and around Slovenia. And not only them - many
listeners are drawn and taken by his music and
heartfelt interpretation as well. It would be rather impossible to find any other musician, who dedicates
himself to art with such zeal, expanding his kno­
wledge and love for music to the people. Ambrož
Čopi graduated in composition in 1996, in the class
of Professor Dane Škerl, at the Academy of Music
Ljubljana and later obtained his master’s degree
under the mentorship of Professor Uroš Rojko. He is a
winner of the title Young Musician of the Year 1995,
as well as a recipient of the Prešeren Award of the
University of Ljubljana and a Recognition Award of
the Municipality of Bovec.
Čopi’s vocal and instrumental compositions were
performed in a number of concerts, festivals and
competitions both at home and abroad. His vocal
compositions are presented on two compact
discs Lirični akvareli (Lyrical Aquarelles) (with the
Academic Choir Tone Tomšič, conducted by Stojan
Kuret) and So ptičice še snivale (When Birds Still
Dreamed) (with ČarniCe, conducted by Stojan
Kuret). Highly regarded and sought-after as a choral
conductor as well, the composer has led a number
of important Slovenian choirs. Since 2004, he has
been a Conductor of the University of Primorska Academic Choir and a Leader of the Mixed Choir of
the Gymnasium Koper. His work with the choirs has
won him many awards both at national and international competitions. Ambrož Čopi is undoubtedly
an excellent and very popular teacher as well as
organizer of musical events and a music motivator.
»My first Angel is a first composition within the cycle,
entitled as Angels and based on lyrics by Tone
Pavček (from his collection of poems Angels).
I was deeply inspired by the collection of poems
Angels by Tone Pavček and particularly by the
thought that there is always someone there watching over us, no matter what we are doing. Pavček
gave this important role to the Angels.
It was when I was reading his poems that this idea
crossed my imagination. I set myself to this project
with particular expectations of how the words will
buzz in my musical narrative. The first poem within
the cycle poured out on the paper with an unbelievable ease, as if somebody had spoken to me
and just guided me. And it is as such - spontaneous,
gentle and rich in colour – that I offer this gift to its
performers and the audience. Exactly the same
way as I have received it myself, « contemplates
about his novelty the composer Ambrož Čopi.
Tomaž Habe (1947) has completed his studies in
composition with Professors Blaž Arnič and Lucijan
M. Škerjanc and conducting with Professor Danilo
Švara at the Academy of Music Ljubljana, in 1970.
He then took his master’s degree in the classes of
Professors L. M. Škerjanc and Uroš Krek. Later on,
he worked as a Pedagogue and was awarded
an Award of the Republic of Slovenia in the Field
of Education. In 1997, he received a Recognition
Award for Important Works of Art in the Realm
of Composition, presented by the Academy of
Music Senate, in 2002. Tomaž Habe is a member of many boards and associations – Board
Member of the Society of Slovenian Composers,
Head of Choral Section and Editor of the Series Ars
SlovenicA. His musical opus comprises more than
380 works – as symphonic, chamber and choral
compositions as well as compositions for woodwind,
accordion and mandolin-tamburitza orchestras.
»There are quite a few works in my musical oeuvre
that were inspired by Pavček’s poetry. We were
friends, so his death deeply affected me. Therefore,
to honour his memory, I suggested that the composers should set to music the poetry, written by him
and his friends – Pesmi štirih (Songs of the Four) for
the 5th Biennial Concert of Choral Novelties. I myself
chose one of the Pavček’s older texts, which I kept
in my folder of poems, waiting to be set to music.
Following a long introductory section the mixed
choir moves from »something is in the air« to a more
dynamic »we feel, we anticipate«. The central,
melodious part is written in major key and contemplates about the spring or »a scent of flowers« as
well as in a minor key »reflection of the human eye«.
What follows, is a repetition of the initial musical
idea with the eternal question: »Is this the song’s
mysterious inspiration, its breath or its exhalation?”
Črt Sojar Voglar (1976) graduated from the Aca­
demy of Music Ljubljana, where he studied music
composition and theory in the class of Professor
Marko Mihevc, in 2000. In 2004, he obtained his
master’s degree in music theory. He perfected his
knowledge in various music classes with Professors
Uroš Rojko, Francis Burt and studied jazz music with
Professor Amedeo Tommasi. He teaches music and
theory courses at the Ljubljana Music and Ballet
Conservatory as well as at the Academy of Music
Ljubljana, where he is a habilitated Assistant Professor of music theory. From 2002 to 2010 he was a
Secretary of the Society of Slovenian Composers.
His opus comprises around 170 compositions in
the realm of orchestral, chamber, solo instrumental
and vocal music. He also creates scenic, film and
dance music and writes arrangements of different
genres and types of music. His works are performed
regularly at some of the most important concerts
and festivals both in Slovenia and around the world.
The composer’s work was rewarded by many prizes
and awards, including a Recognition Award for
Important Works of Art, presented to him by the
University of Ljubljana in 2006. “I am becoming
increasingly fond of choral music, as I have been –
with small intervals – an active singer in the St. Nicolas Choir in Litija for almost seven years. I feel that
I understand more and more the human voice as
an expressive instrument through the use of various
musical resources, which are certainly accessible to
anyone. It has been also for some time now, since
I wished to set lyrics by Ciril Zlobec to music, as he
has been my neighbour for the last eight years. I
never told him this, so this should be a surprise! «
Vitja Avsec was born in Ljubljana, in 1970 and he
completed his studies in composition at the Aca­
demy of Music Ljubljana in the class of Professor
Dane Škerl. Today, he is a successful composer of
instrumental works, especially for the accordion.
Tonight he will present his novelty, composed for the
mixed choir. And as he puts it, »at the beginning he
was looking for the relation between the opposites;
between form and content, between simple and
complex … I am not so much into the exploration
of sound. I am more interested in forming – organisation of material and articulation of form. I am
trying to get things to the highest possible level of
transparency or »audibility«. And continues: »When
I was composing Pavček’s poem Upočasnitev
(Slowdown), I tried to create the musical language,
appropriately subordinated to the poem, so that
the lyrics would always remain understandable
and every, even the smallest meaning of the word,
would be heard. The music tries to co-narrate and
co-create the story that speaks of the eternal and
the ephemeral; the story that looks to the future
in quiet anticipation, forebodingly announcing
messages from over there, from beyond. I always admired the poet for his uprightness, his finely tuned language - the language in its most precious image; the
language that can be spoken and the language, in
which the verses can be written only by someone,
so fully committed. His dedication to Slovenianness
and our land as well as all his poetic and intellectual
work will never be forgotten. This composition is my
humble tribute to the classic Tone Pavček. «
»I am particularly attracted to vocal music, at least
as far as its expressive possibilities are concerned»,
wrote Marijan Lipovšek (1910 – 1995) and conti­
nued: »The possibilities I have in mind are those of a
more substantial nature, rather than pure musical. What seems to be more significant from the
colourfulness of the vocal phrase, which, of course,
is important in its own way as well, is the wording of
the lyrics, because the entire musical construction is
subordinated to it. In my opinion, when composing,
one should imitate a human, who talks as if he was
singing. That is exactly why I am more drawn to
drama or deeper lyrical texts, such as Kosovel’s for
example, characterised by its reflective contents.
When composing choirs, I stayed within the limits of
tonality, as this, undoubtedly, facilitates melodiousness and at the same time allows for a more direct
expression of the text. And, of course, I tried to avoid
the hackneyed way of creating harmonic connections. « Lipovšek’s choral works are mainly expressive
narratives, in which the musical language is subordinated to the text, accomplished in its form, based
on the elements of the Slovenian folklore, modern,
and yet deeply rooted in tradition. Back in the seventies and eighties, Lipovšek liked to use the poetry
of Kajetan Kovič. And as Aleš Nagode puts it, »we
can observe an escalation of expressivity, reflecting
musically in a looser structure, more demanding
harmony and greater rhythmic differentiation. But
what we come across again and again are the internalised impressions, in which the composer gives
himself to painting of atmospheres from nature and
even to tonal painting.«
After she had finished the Lower Music School
in piano, Katarina Pustinek Rakar continued her
musical education at the Secondary Music School
in Ljubljana, where she gradually enrolled in three
main courses: theory, oboe and solo singing.
Later she graduated from the Academy of Music
Ljubljana in composition and music theory. She
actively collaborated with the best Slovenian choirs
and was also a member of the Slovenian Chamber
Choir. She perfected her knowledge in solo singing,
choral singing, choral conducting, solfeggio and
composition in seminars at home and abroad. Her
oeuvre mainly consists of vocal music (solo songs,
children songs, as well as youth, male, female and
mixed choirs) as it is exactly the latter that she gained
most of her experience with and that she was most
often commissioned. The majority of her compositions are published in different publications, such
as for example Editions of the Society of Slovenian
Composers or issued by the publishing house Astrum
from Tržič. Katarina Pustinek Rakar is employed at the
Conservatory of Music Ljubljana, where she teaches
solfeggio and choral singing. »In my composition
Pesem o pesmi (A Poem on a Poem), I tried to show
and describe the feelings I have, when a song or a
piece of music is created. What attracted me to this
text most was the poet’s excellent describing of how
a work of art is born: from the scratch to its first attempts, through pain, and finally towards hope. I tried
to pour Pavček’s words in music, breathe colours
and life into them, emphasise their importance and
message. And thus, one work of art encouraged the
birth of a new one. «
After he had obtained his post-secondary diploma
in conducting with Professor Anton Nanut, Andrej
Misson (1960) taught solfeggio and morphology
at the Ljubljana Organ School in the Secondary
Music and Ballet School in Ljubljana. Following his
participation in a master class in singing co-repetition in Graz and performing with the Baroque Music
Ensemble Ramovš Consort and Ljubljana Baroque
Trio, where he was engaged as a Harpsichordist, he
graduated from the Academy of Music Ljubljana
in the class of Professor Dane Škerl, in 1987. After
his military service in the Yugoslav People’s Army,
he worked as a leader of several choirs and then,
in 1992, became an Assistant to Professor Dane
Škerl, in teaching the course in counterpoint, where
he became permanently employed a year later.
In 1997, he obtained his doctor’s degree with his
mentor, and thus became an Assistant Professor.
From 1998 to 2002, Misson was a Member and
Vice-Chairman of the Board of Directors of the Society of Slovenian Composers. From 2001 to 2003,
he was an Associate Dean for Academic Affairs
and - a few years later - a Member and Deputy
Chairman of the Council for Music Education at the
Ministry of Education, Science, Culture and Sport.
In 2007, the Association of University Professors
named Misson its Honorary Member for his diligent
and selfless service. Among the Misson’s most important works are the compositions in the realm of
orchestral art, composer’s rich oeuvre of vocal and
instrumental pieces, choral works as well as chamber literature. The artist contemplates about his
creativity as follows: «If the idea of »a rich musical
creativity« refers to the amount, then the number
of my compositions in future will depend on “God’s
will”. If it however refers to the musical content,
then I am quite sure that my work is rich indeed. My
ideal is to remain a comprehensive and creative
musician, yet not only a practitioner but theoretician
as well. « Andrej Misson is an active member of
many societies, related to musical activities. He is
also a winner of a Bronze Recognition Award of the
Municipality of Kamnik for his successful leading
of the First Slovenian Singing Society Lira. »Music is
a world in which we can create many things that
do not exist in reality; therefore I can fuse in it the
poems of the four into a single poem of four. The
teller of the four themes, blended in one, is a drop,
a drop of memory (Kovič), a tiny little drop (Zlobec),
a drop from the heights (Menart), a silver drop
(Pavček), which glints - in four poems, four stories,
four worlds – in each of them, in a different way.
And it is exactly around them that I built my composition, hoping that I have done this both sound- and
musically-wise interesting enough. In his review on
the collection of poems Pesmi štirih (Poems of the
Four) Janko Kos wrote that the four poets were not
revolutionary, breakthrough or newfangled; and
it was as if he wrote a thought about my music as
well. I hope that the poems of our four poets will
resonate and acoustically pour out of my music just
splendidly. And you still believe in a glint of happiness, you wish for ... (Tone Pavček). «
The composer Nana Forte stems from the composing school of the Academy of Music Ljubljana
and the class of Professor Marko Mihevc. She
attended her post-diploma course at the Carl
Maria von Weber University of Music in Dresden
in the class of Professor L. Voigtlaender and Berlin
University of the Arts, where she received her
master’s degree with distinction in the class of
Professor W. Zimmermann, in July 2009. After she
had concluded her studies abroad, she returned
to Slovenia, where she successfully continues her
artistic career. Her oeuvre mainly consists of solo,
chamber, vocal and vocal-instrumental works. She
has so far participated in many selected choirs;
therefore, as a composer, she is closely related to
the human voice, even since her early oeuvres. Her
compositions have been performed across Europe
and accordingly presented at various concerts,
Slovenian and international festivals as well as
played on various European radio stations. Some
of her works were recorded on compact discs and
printed in various publications. Outstanding among
Nana Forte’s latest successes is her collaboration
within the project of the ten European radio stations
and festivals - Music Masters on Air (MusMA) (2011),
where she represented Slovenia. For this occasion
she was awarded a commission of a new piece
for piano solo by the Ljubljana Festival. The work,
entitled as A broken car, has seen successful performances at five established European festivals in
Belgium, Italy, Serbia, Portugal and Slovenia. Nana
Forte writes about her tonight’s novelty as follows:
“The composition is written to the text of the poem
Križemkraž (Crisscross) by Kajetan Kovič. When I saw
the poem’s rhythmic and content structure, an idea
immediately popped into my mind that I should
write down a kind of a canon. The composition
consists of two parts, therefore presented in its first
part are specific, shorter, slightly changed motifs of
canon and the whole text, whereas in its second
part the canon sounds in its entirety and ends with
a coda. The choir’s task should be to perform this
piece in the fastest tempo possible, which is quite a
challenge due to the poem’s abundant text. «
Peter Šavli (1961) graduated from the Academy
of Music Ljubljana in music pedagogy (1985) and
composition (1988, with Prof. Alojz Srebotnjak). Then
he obtained the art diploma at the Yale University
in the USA (1993 to 1995) and the doctor’s degree
in musical art at the Cornell University in the USA
(1995-99). He perfected his knowledge with Professor Brian Ferneyhough in California. In 1999, he
taught music theory at the Syracuse University as a
guest teacher. He has released two children’s CDs
Navihanke (Rascals) and Pedenjped for the music
publisher Nika Records and an authorial CD Devant
une neige for the Editions, released by the Society
of Slovenian Composers. Šavli has performed and
recorded his compositions for the music archives
with various Slovenian symphonic orchestras. In
2010, his youth chamber opera Pastir (Shepherd)
was performed to his libretto by the Slovenian National Opera Theatre in Ljubljana and received well
by the younger audiences. In 2012, the RTV Slovenia Symphony Orchestra presented with the soloist
Andraž Poljanec and under the baton of Lorenzo
Castriota his percussion concert entitled as Chakra.
His latest oeuvre includes some chamber works,
choral compositions as well as many musical pie­
ces for children and youth. Peter Šavli is an Assistant
Professor of Theoretical Subjects at the Academy of
Music in Ljubljana and is also employed as a Professor at the Ljubljana Music and Ballet Conservatory.
He is quite active within the Society of Slovenian
Composers, and since 2003, as an Artistic Director
of its Concert Studio in particular.
»This time I am exploring the poetry with the brilliant
verses by a great master Kovič. Poetry is like the
universe, where each poem is a solar system and
each word is a planet. The syllables within their me­
lody are like the moons that determine the cosmic
order of our beautiful Slovenian language. Kovič’s
Zdravica (Toast) presents a couple, man and woman, having a drink in a laid back atmosphere and
listening to live music, played by a Roma artist. After
each glass, their common future seems more uncertain. They merrily invite each other to yet another
glass as if they live only for the day and as if these
moments could once become floods of tears. Let
the gurgling of the drink be heard, let the violinist
play another song, cheers! «
Matija Tomc (1899 – 1986) started his intensive
studies in music only after he was ordained as a
priest, back in the ninety twenties. He studied piano
with Professor Janko Ravnik and harmony with
Professor Stanko Premrl. From 1926 to 1930 he
perfected his knowledge at the University of Music
and Performing Arts in Vienna. Later on, he was in
charge of the musical activity at the Classical
Gymnasium in Škofja Loka, teaching at the
Glasbena Matica Music Society School, State
Conservatory as well as at the Academy of Music.
After the war he was literally excluded from the
public life by the authorities, and lived - from 1946
until his death - a secluded life as a Chaplain and
Parish Priest in Domžale. Nevertheless, he devoted
a lot of his time to composing and consequently left
a huge oeuvre of secular and church music. His
secular choral works are quite different from each
other. It is quite impossible to detect a development
line in his works, as some of them are quite similar to
each other, although they were created within a
large interval of time. Therefore it seems better to
classify his compositions according to their content,
which is mostly of a reflective nature and domina­
ted by expressive feelings, as well as often joined by
setting of balladic lyrics to music. On the other
hand, Tomc gladly used the texts, describing rural
world and its features. These choirs are basically
light-hearted, playful, and frequently deliberately
simple but nevertheless artistically convincing.
Rado Simoniti (1914 – 1981) had sought and found
the ideas for his creativity in his rich reproduction of
musical works. And, as he puts it: »The work with any
ensemble affects the creativity of each artist. The
reasons for that are sometimes needs, and at others
the reproductive force of the ensemble, which
forces the creator towards new demands and thus
bestows him with the additional stimulus. « And
there were indeed many of such stimuli in Simoniti’s
life. It was already during his high school years that
he directed choirs, and then the partisan choirs
during the war. He was a Leader of the Slovenian
National Theatre choir and after the war a Principal
Conductor of the Slovenian National Opera Theatre
in Ljubljana. He was especially fond of the Italian
operatic art, therefore it is quite understandable
that the melodic line had a special meaning as
well as presented a great source of inspiration to
him. And as Rafael Ajlec said, »it is the musical
element, which he never betrays, in which he finds
the barycentre of expression and with which he
achieves the best effects. He dons it in harmonies,
which can sometimes be very exciting and chromatic, but are always finely tuned and soft. « All this
is only further confirmed by the composer’s own
words: »Music is written with the heart and not with
the logarithms in ones hands! «
Simoniti’s musical language was of course also
inspired elsewhere - by the Slovenian musicians Emil
Adamič, Marolt and Osterc. And some important
traces were also left by his services in the other
parts of former Yugoslavia: »The study of Yugoslav
choral music and personal contacts with the
Croatian, Serbian and Macedonian composers
greatly invi­gorated my work«, wrote the artist.
Monika Kartin
Steven Loy
Steven Loy, dirigent / conductor
Saar Berger, rog / horn
Boštjan Lipovšek, rog / horn
STOP – Slovenski tolkalni projekt / Slovenian Percussion Project
Pihalni kvintet Slowind / Slowind Wind Quintet
Matjaž Porovne, violina / violin
Igor Mitrović, violončelo / violoncello
Klemen Leben, harmonika / accordion
Jure Ivanušič, recitator / reciter
Na sporedu / Programme
Larisa Vrhunc: Hitrost razpadanja za dva rogova in dva tolkalca* /
The Rate of Decay for Two Horns and Two Percussionists
Matej Bonin: Kvartet za rog, harmoniko, violino in violončelo* /
Quartet for Horn, Accordion, Violin and Violoncello
Tomaž Bajželj: Turbulenca sence za solo rog in ansambel (solist Boštjan Lipovšek – rog)* /
The Turbulence of Shadow for Solo Horn and Ensemble
....
Bojana Šaljić Podešva: Ljubeče iznad za dva rogova, dva tolkalca in elektroniko* /
Dearly Above for Two Horns, Two Percussionists and Electronics
Alja Zore: Hrolgrohn za solo rog in ansambel (nagrajenka natečaja Festivala Ljubljana za
novo skladbo; solist Saar Berger – rog)* /
Hrolgrohn for Solo Horn and Ensemble (Winner of the Ljubljana Festival New
Composition Contest); Soloist Saar Berger - horn
Nina Šenk: Twenty in Five za ansambel in recitatorja (slovenska praizvedba) /
Twenty in Five for Ensemble and Reciter (Slovenian Premiere)
* krstna izvedba / first performance
Večer mlajše skladateljske
generacije
Posebna zahvala dirigentu Simonu Krečiču za vodenje delavnice mladih skladateljev
oktobra 2012 in prvih vaj ansambla. /
Special thanks to the Conductor Simon Krečič for his leading of the Workshop for Young
Composers, held in October 2012 as well as for his conducting of the first Ensemble repetitions.
Sponzor / Sponsor:
AN Evening of Young Composers
Torek, 12. marca, ob 21.00
Slovenska filharmonija
Vstop prost
Tuesday, 12 March, at 9.00 pm
Slovenian Philharmonic
Free entrance
Nocojšnji koncert je nadaljevanje lanskega
koncerta mlajše generacije, na katerem so
skladateljice in skladatelji na Slovenskih glasbenih
dnevih predstavili skladbe za rogova in tolkala.
Mednarodno priznana rogista Saar Berger, član
ansambla Ensemble Modern, in Boštjan Lipovšek,
ter tolkalna skupina STOP bodo tudi letos izvedli
dve noviteti za dva rogova in tolkala, pri drugih
skladbah pa se jim bodo pridružili še Pihalni kvintet
Slowind, violinist Matjaž Porovne, violončelist Igor
Mitrović, harmonikar Klemen Leben in recitator Jure
Ivanušič. Med drugim bomo slišali krstno izvedbo
najmlajše predstavnice mlade generacije Alje Zore,
nagrajenke natečaja Festivala Ljubljana.
Larisa Vrhunc se je po končanem študiju
glasbene pedagogike in kompozicije pri Marijanu
Gabrijelčiču v Ljubljani izpopolnjevala še pri
Jeanu Balissatu in Ericu Gaudibertu v Ženevi in
pri Gilbertu Amyju v Lyonu. Študij je dopolnjevala
s kompozicijskimi tečaji pri številnih uglednih
skladateljih (S. Gubaidulina, B. Ferneyhough, M.
Jarrel, K. Huber, S. Xu, T. Jennefelt, B. Holten, U. Rojko,
F. Nieder, H. Lachenmann, P. Dusapin, H. Kyburz, L.
Francesconi). Med letoma 1995 in 1998 je delovala
kot asistentka na Akademiji za glasbo, od leta
2000 pa je zaposlena kot predavateljica teorije
glasbe na Oddelku za muzikologijo ljubljanske
Filozofske fakultete. Za svoja dela je prejela nekaj
domačih in tujih nagrad, med drugim nagrado
Prešernovega sklada za leto 2003.
»Umetnost ni ne dekoracija ne vreča denarja.
Verjamem v ljudi z odprtimi ušesi in radovednim
srcem.
Navdih za skladbo Hitrost razpadanja* je
istoimenska pesem Borisa A. Novaka (iz zbirke
Mojster nespečnosti, Mladinska knjiga, Ljubljana
1995),« je o svoji noviteti zapisala Larisa Vrhunc.
Skladba je napisana za zasedbo dveh rogov in
dveh tolkalcev.
Matej Bonin, rojen v Kopru leta 1986, je diplomiral
na Akademiji za glasbo v Ljubljani iz kompozicije
pod mentorstvom prof. Uroša Rojka. Gimnazijo ter
srednjo glasbeno šolo je obiskoval v Kopru, kjer je
leta 2005 z odliko maturiral.
Že dve leti pozneje je sodeloval na festivalu Slowind
z naročeno skladbo Daleč od blizu (za pihalni
kvintet), ki je bila predstavljena tudi v Monzi, Milanu
in Parizu. Leta 2008 je prejel Prešernovo nagrado
Univerze v Ljubljani, leto pozneje je kar s tremi
deli sodeloval na državnem tekmovanju mladih
glasbenikov Slovenije. Akordeonist Luka Juhart je
marca 2010 v Ljubljani in na koncertih po Evropi
zelo uspešno predstavil Boninovo skladbo One
man band, istega leta pa je bila izvedena tudi
umetnikova glasba za plesno predstavo Islands in
the fog v Salzburgu. Oktobra 2011 je prejel naročilo
za Ensemble Modern v sodelovanju z Goethe
Inštitutom iz Prage za projekt Where from? Where to?
Myths-Nation-Identities. (Od kod? Kam? – Miti. Narod.
Identitete.) Skladba je bila premierno predstavljena
na festivalu Musica Viva v Münchnu decembra
2012, pod vodstvom dirigenta Petra Eötvösa. Marca
2012 je sodeloval na Slovenskih glasbenih dnevih
s skladbo Souvenir za dva rogova in štiri tolkalce
v izvedbi hornistov Saarja Bergerja in Boštjana
Lipovška ter tolkalnega ansambla STOP. Od oktobra
2012 nadaljuje študij kompozicije in glasbenega
teatra na Visoki šoli za umetnost v Gradcu pri prof.
Beatu Furrerju.
O svoji noviteti pa Matej Bonin piše tako:
»Iskanje medsebojnih povezav med strukturno
različnimi elementi skladbe kot tudi iskanje
potencialov razvoja znotraj samih elementov sta
dve izmed bistvenih vprašanj pri komponiranju
glasbenega dela. Kako se strukturni elementi
pojavljajo v času ter v kakšnih medsebojnih
odnosih so? Vprašanje, kako se glasbeno delo
DOGAJA, je torej ključno. Jasno je, da glasba kot
najbolj abstraktna oblika umetnosti ne more in
ne sme zahtevati od poslušalca samo ene možne
interpretacije glasbenega dela, pa vendar me
kot ustvarjalca zanima, kateri so ti mehanizmi, ki
v nas (poslušalcih) sprožajo tako emotivne kot
racionalne odzive na slišano glasbeno delo. Takšno
izhodišče sem si postavil tudi v skladbi Kvartet za
rog, akordeon, violino in violončelo, kjer so elementi
koncipirani tako, da je prehod iz vsakega mogoč
v vse smeri … Linearni razvoj je samo navidezen,
saj so ‘protagonisti’ ujeti v zanko, ki nima pravega
začetka ali konca.«
Tomaž Bajželj je glasbeno pot začel v Kranju,
nadaljeval pa na Srednji glasbeni in baletni šoli v
Ljubljani. Med študijem klavirja se mu je porodila
tudi želja po oblikovanju lastnih zvokov, zato je
na Akademiji za glasbo v Ljubljani vpisal študij
kompozicije v razredu prof. Pavla Mihelčiča. Po
diplomi ga je glasba zvabila v Dresden, kjer je
na visoki šoli za glasbo Carl Maria von Weber
končal podiplomski in mojstrski študij kompozicije
pri prof. Lotharju Voigtländerju. Med študijem
so kompozicijske izkušnje bogatile izvedbe
njegovih del, ki so jih v slovenski in mednarodni
prostor ponesli predvsem slovenski, včasih pa
tudi tuji izvajalci. Tako so nastala sodelovanja z
orkestrom RTV Slovenija, z zbori De Profundis, APZ
Tone Tomšič, Cantemus, Singer Pur, z različnimi
solopevci, komornimi sestavi in solisti. Njegova dela
so bilapredstavljena na festivalih Svetega Marka v
Zagrebu, Glasbeni julij na Obali v Kopru, Festivalu
stare glasbe v Radovljici, Randspiele v Berlinu in Ziel1-Kunst na Dunaju. Od januarja 2010 se posveča
doktorskemu študiju v Dresdnu (mentor profesor
Jörn Peter Hiekel) na temo Vinko Globokar in njegov
glasbeni teater. Je aktivni član Društva slovenskih
skladateljev, živi in deluje pa kot svobodni umetnik
v Berlinu.
»Skladbo Turbulenca sence je navdihnila slika z
istoimenskim naslovom (Turbulenca sence, akril na
platnu, 2002) mojega prijatelja, akademskega
slikarja Gašperja Jemca. Solist hornist v samoti in
tišini, kakor tudi vsak umetnik, poskuša najti svoj
lastni izraz, pri čemer ga kar naprej prekinjajo
nepovabljene misli, ki kot nezaželene sence v nekem
trenutku povzročijo pravo turbulenco v njegovem
umetniškem procesu,« pravi Tomaž Bajželj.
za glasbo v Ljubljani in podiplomski študij
elektroakustične glasbe v razredu Dietra Kaufmanna
na dunajski Univerzi za glasbo. Izpopolnjevala
se je tudi pri Brunu Liberdi, Wolfgangu Mittererju,
pri Françoise Barriere na inštitutu IMEB v Bourgesu
(Francija), kar ji je omogočila štipendija programa
UNESCO-Aschberg, ter pri Richardu Boulangerju na
9. mednarodni akademiji za novo glasbo in zvočno
umetnost v Seefeldu na Tirolskem (Avstrija), kar ji je
omogočila štipendija društva KulturKontakt Austria.
Temeljno izrazno sredstvo skladateljice je
elektroakustična glasba, s čimer zajema tako
fiksno izdelane dvo- ali večkanalne kompozicije
kot tudi »real-time« obdelavo instrumentalnovokalnega zvoka ali zvočne instalacije. Prerez
svojega ustvarjanja s tega področja je predstavila
na avtorski zgoščenki Welcome to the Dooshaland.
Prav tako ji je zelo blizu komorna glasba, ki
dopušča neposredni stik z izvajalci. Večkrat je
bila nagrajena na skladateljskih natečajih (Gustav
Mahler Kompositionspreis, 32. mednarodno
tekmovanje elektroakustične glasbe in zvočne
umetnosti v Bourgesu idr.). Svoja dela je predstavila
na pomembnih festivalih sodobne glasbe doma
in na tujem ter na številnih drugih koncertih na
mednarodnem prizorišču. Poleg tega jo privlači
povezovanje z drugimi umetnostmi; glasbeno
podobo je dala številnim slovenskim delom
lutkovnega, plesnega in dramskega gledališča
ter filma. Nagrajena je bila za glasbo v predstavi
Peskar na 2. bienalu ustanove lutkovnih ustvarjalcev
Slovenije leta 2003 v Mariboru, za glasbo v
predstavi Svetnik Krespel na 3. bienalu ustanove
lutkovnih ustvarjalcev Slovenije leta 2005 v Kopru
in je dobitnica nagrade vesna za glasbo iz filma
Otroci s Petrička na 10. festivalu slovenskega filma
leta 2007 v Portorožu. Leos je štipendistka Berlinske
umetnostne akademije (Akademie der Künste).
O svoji noviteti je skladateljica zapisala: »Dragi in
spoštovani Srečko, tvoje jasne besede se berejo
enako nekoč in danes. Toliko bolj začutim cmok
v grlu, ko pridem do tvojega klica k revoluciji. Ne
maram revolucije, bojim se je, bojim se razdiralne
moči množice ljudi, ki pozabijo svoje resnične
potrebe; in revolucija ni pot za njihovo uresničenje.
Pot, odgovornost in sprememba so v vsakem
izmed nas, so v tisočerih vsakdanjih malih dejanjih,
ki se zdijo neopazna, pa vendar gradijo svet,
kakršnega doživljamo. Zato se dvigam iz prahu in
prosim, naj moja dejanja vodita ljubezen in etika,
brez popuščanja. Temu boju se pridružujem in se
zahvaljujem tebi, Srečko, in vsem drugim, katerih
dejanja me navdihujejo.«
Bojana Šaljić Podešva se je rodila v Mariboru,
kjer je obiskovala gimnazijo in srednjo glasbeno
šolo. Končala je študij kompozicije na Akademiji
Alja Zore (rojena 1992) študira filozofijo in
primerjalno književnost na Filozofski fakulteti
v Ljubljani, od leta 2012 pa obiskuje tudi ure
kompozicije pri profesorju Urošu Rojku na ljubljanski
Akademiji za glasbo. Jeseni se je s svojo skladbo
udeležila glasbenega festivala Axes v Krakovu.
»Skladba Hrolgrohn je zame pomenila lovljenje
ravnotežja med nasprotji, iskanje meja, do katerih
se lahko neka značilnosti razvija in stopnjuje, preden
se spremeni v svoje nasprotje, približevanje tem
mejam in beg od njih. Ta proces se odvija na eni
strani v glasbenih elementih, v iskanju prepletov,
v katerih posamezne linije še živijo same in hkrati
tvorijo enotno teksturo, v ustvarjanju kontrastov in
njihovem brzdanju, preden preidejo v monotonost,
v ustvarjanju rezov, ki naj ne razbijejo celote, v
beganju med nasprotji in hkrati sledenju celoti. Na
drugi strani se odvija na ravni celotne skladbe (in
skladateljice) v obliki nihanja med samolastnostjo
in tujostjo, med zaprtostjo in odprtostjo za lastno in
drugo, v obliki iskanja meje, kjer se eno pretvarja
v drugo, meje, na kateri lastne obsesije vizije niso
brezobzirne in vsiljevalske, skladba pa vendarle
še ohranja svojskost in samolastnost,« je zapisala
skladateljica.
Skladateljica Nina Šenk (1982) je po končanem
študiju kompozicije na Akademiji za glasbo
v razredu prof. Pavla Mihelčiča nadaljevala
podiplomski študij kompozicije v Dresdnu pod
mentorstvom prof. Lotharja Voigtländerja in leta
2008 končala mojstrski študij na Visoki šoli za
gledališče in glasbo v Münchnu v razredu prof.
Matthiasa Pintscherja. Je prejemnica več nagrad,
med drugim evropske nagrade za najboljšo
kompozicijo na festivalu Young Euro Classic za
Koncert za violino in orkester (2004), Prešernove
nagrade Akademije za glasbo ter prve nagrade na
festivalu Weimarer Frühjahrstage für zeitgenössische
Musik za skladbo Movimento fluido (2008).
Njene skladbe so bile izvedene na festivalih v
Nemčiji (Young Euro Classic, Kasseler Musiktage,
Weimarer Frühjahrstage, Zepernicker Randspiele,
Rheinsberger Pfingstwerkstatt, Heidelberger
Frühling), na Ljubljanskem poletnem festivalu,
festivalu Slowind, Kogojevih dnevih, Svetovnem
kongresu saksofonistov, festivalu Unicum, festivalu
Maribor ter na številnih koncertih po vsem svetu.
Sodelovala je z različnimi orkestri in ansambli
(Orkester Akademije za glasbo, Orkester Slovenske
filharmonije, Komorni godalni orkester SF, Simfonični
orkester RTV Slovenija, Orkester Državnega
gledališča v Cottbusu, Festivalni orkester Young
Euro Classic, Ensemble Modern, Ensemble mosaik,
Ensemble unitedberlin, Pihalni kvintet Slowind,
Ensemble Aleph, Altera veritas, MD7, Ensemble
concorde, Kammersymphonie Berlin). Po naročilu
festivala Young Euro Classic je leta 2006 napisala
himno festivala z naslovom Navitas, ki je bila v dveh
letih izvedena na več kot 40 koncertih v Nemčiji in
na Kitajskem. V sezonah 2008/2009 in 2009/2010
je bila Nina Šenk rezidenčna skladateljica orkestra
Državnega gledališča v Cottbusu. »Skladba Twenty
in Five je bila izbrana za projekt z naslovom Od
kod? Kam? – Miti. Narod. Identitete. treh partnerjev:
Goethe Inštituta iz Prage, ansambla za sodobno
glasbo Ensemble Modern iz Frankfurta ter fundacije
BHF-BANK.»Naslov skladbe Twenty in Five v prevodu
pomeni Dvajset v pet – dvajset let samostojnosti
Slovenije v petih slikah. Začetki projekta segajo
namreč še v leto 2011, ko sem k sodelovanju
povabila člane Društva slovenskih pisateljev in jih
prosila za kratke komentarje oziroma tekste, ki se
nanašajo na njihov pogled na stanje v Sloveniji.
Odziv je bil zelo dober, dobila sem namreč
ogromno tekstov šestindvajsetih avtorjev ter za
skladbo od vsakega avtorja uporabila enega.
Postavila sem jih v pet sklopov, ki prikazujejo
različne poglede na Slovenijo – prvi vtisi, dejstva o
državi, kritika umetnikov, pesimizem v sedanjosti ter
pogledi v prihodnost.
Recitator kot osrednji lik – posameznik – neposredno
posreduje tekst poslušalcem, ansambel postavlja
glasbeno kuliso, ki daje prostor govoru, na trenutke
ponudi citate slovenske identitete (ljudska pesem,
himna ...), reagira na tekste in razpoloženje
recitatorja ter na koncu aktivno sodeluje pri prenosu
govorjene besede kot komentator (predstavlja
množico in s tem nasprotje posamezniku ali pa se
z njim strinja). Skladba je bila v prvotni mednarodni
verziji (slovenski teksti so bili prevedeni v nemški,
angleški in italijanski jezik) krstno izvedena
decembra 2012 na festivalu sodobne glasbe
Musica Viva v Münchnu, v izvedbi ansambla
Ensemble Modern in dirigenta Petra Eötvösa,
ponovitve sledijo leta 2013 v Frankfurtu, Varšavi, Rigi
in Budimpešti. Za slovensko premiero je skladba
prirejena za drugačen ansambel, teksti pa so v
slovenskem jeziku,« je zapisala Nina Šenk.
Monika Kartin
Tonight’s concert is a continuation of the last year’s
Concert of the Young Composers, featured within
the Slovenian Music Days, on which the composers
presented their compositions for horn and percussion.
The internationally renowned horn players Saar
Berger - a member of the Ensemble Modern - Boštjan
Lipovšek and the Percussion Ensemble STOP will
perform this year again two of their novelties for two
horns and percussions and will be joined for the rest
of the compositions by the Slowind Wind Quintet, violin player Matjaž Porovne, cello player Igor Mitrović,
accordionist Klemen Leben and reciter Jure Ivanušič.
We will also hear the premiere of the youngest representative of the younger generation - Alja Zore, the
winner of the Ljubljana Festival Contest.
After she had completed her study in music
pedagogy and composition with Professor Marijan
Gabrijelčič in Ljubljana, Larisa Vrhunc perfected her
knowledge with Professors Jean Balissat and Eric
Gaudibert in Geneva and Professor Gilbert Amy
in Lion. She supplemented her studies by attending
the courses in composition with numerous eminent
composers (S. Gubaidulina, B. Ferneyhough, M.
Jarrel, K. Huber, S. Xu, T. Jennefelt, B. Holten, U.
Rojko, F. Nieder, H. Lachenmann, P. Dusapin and
Kyburz, Francesconi). From 1995 to 1998 she was
an Assistant at the Academy of Music Ljubljana
and since 2000 she is employed as a Professor of
Music Theory at the Department of Musicology of
the Faculty of Arts in Ljubljana. She has received
several national and international awards for her
work and among them the Prešeren Fund Award
for the Year 2003. »Art is neither a decoration nor
a bag of money. I believe in people with open
ears and curious hearts. I found the inspiration for
the composition Hitrost razpadanja* (The Rate of
Decay) in the eponymous poem by Boris A. Novak
(from the collection Mojster nespečnosti (Master of
Insomnia), published by Mladinska knjiga, Ljubljana,
1995) «, wrote about her novelty Larisa Vrhunc. The
composition is written for the ensemble of two horn
players and two percussionists.
Eötvös. In March 2012, he participated in the Slovenian Music Days with his composition Suvenir (Souvenir) for two horns and four percussionists, which
was performed by the horn players Saar Berger
and Boštjan Lipovšek, and the Percussion Ensemble
STOP. From October 2012, he continues his studies
in composition and musical theatre at the University
of Music and Performing Arts in Graz with Professor
Beat Furrer. Matej Bonin writes about his novelty as
follows: »A quest for inner connections between
the structurally different composition elements, as
well as development potentials within the elements
themselves are the two of the key questions in
composing of a musical work. How do the structural
elements occur within the time and what is their
relation to each other? Therefore, the key question
here is – how the musical work actually HAPPENS.
It is quite clear that music – as the most abstract
form of art – can not and should not demand of
the listener only one possible interpretation of the
musical work. Nevertheless, I am quite curious – as
an artist – to find out about the mechanisms that
trigger in us (the listeners) both emotional and
rational respon­ses to the piece of music we are listening to. That was exactly my starting point for the
composition Quartet for Horn, Accordion, Violin and
Violoncello, in which the elements are conceived
in a way that the transition from each of them is
possible in any direction. The linear development
is only virtual, as the protagonists are trapped in a
loop, that has no real beginning or end.«
Matej Bonin was born in Koper, in 1986. He gradu­
ated in composition under the mentorship of Professor Uroš Rojko at the Academy of Music Ljubljana.
He attended the Gymnasium and Secondary
Music School in Koper, where he also graduated
with honours, in 2005. Two years later he already
participated in the Slowind Festival with a commissioned composition for woodwind quintet Daleč od
blizu (Far from Close), which was also presented in
Monza, Milan and Paris. In 2008, he received the
Prešeren Award of the University of Ljubljana, and a
year later he took part in the National Competition
for Young Musicians, presenting his three works at
the same time. In March 2010, the accordionist
Luka Juhart successfully presented Bonin’s composition One Man Band in Ljubljana and at the series of
concerts around Europe. The same year, the artist’s
music for the dance performance Islands in the fog
was presented in Salzburg. In October 2011, he was
commissioned to write a composition for the Ensemble Modern in collaboration with the Goethe Institute from Prague for the project Where from? Where
to? – Myth-Nation-Identities. The composition was
premiered at the Musica Viva Festival in Munich in
December 2012, under the baton of Maestro Peter
Tomaž Bajželj, who started his musical career in
Kranj, continued his study at the Secondary Music
and Ballet School in Ljubljana. When he was studying piano, he felt a strong urge to create his own
sounds, therefore he enrolled at the Academy of
Music in Ljubljana, where he studied composition in
the class of Professor Pavel Mihelčič. After he had
graduated, music lured him to Dresden, where he
completed his postgraduate education in composition in the class of Professor Lothar Voigtländer
at the Carl Maria von Weber University of Music.
During his studies his compositional experience
enriched the performances of his works, which
were carried to Slovenia and the world mainly by
Slovenian and sometimes even by foreign performers. All that also resulted in his collaboration with the
RTV Slovenia Symphony Orchestra, several choirs
- De Profundis, Academic Choir Tone Tomšič, Cantemus, Singer Pur, different solo singers, chamber
ensembles and soloists. His works were presented
at the St. Marco’s Festival in Zagreb, Music July at
the Coast in Koper, Radovljica Festival of Old Music,
Randspiele in Berlin and Ziel-1-Kunst in Vienna.
From January 2010, the artist has been dedicating
himself to his doctoral studies in Dresden (under the
mentorship of Professor Jörn Peter Hiekel), where
he prepares his dissertation Vinko Globokar and his
Musical Theatre. Tomaž Bajželj is an active Member
of the Society of Slovenian Composers, although he
lives and works as a freelance artist in Berlin. »The
composition Turbulenca sence (The Turbulence
of Shadow) was inspired by the painting with the
same title (Turbulenca sence, akril na platnu (The
Turbulence of Shadow, Acrylic on Canvas), 2002)
by my friend and painter Gašper Jemc. A soloist –
horn player – tries to find out, in solitude and silence,
as any other artist would do, his own expression, but
he is constantly interrupted by uninvited thoughts,
which at some point cause – like unwanted sha­
dows – heavy turbulence in his artistic process, »
explains Tomaž Bajželj.
Bojana Šaljić Podešva was born in Maribor, where
she attended the Gymnasium and Secondary Music School. She completed her study in composition
at the Academy of Music Ljubljana and obtained
her master’s degree in electro-acoustic music under
the mentorship of Professor Dieter Kaufmann at the
University of Music in Vienna. She perfected her
knowledge with Professors Bruno Liberdi, Wolfgang
Mitterer and Françoise Barriere at the IMEB Institute
in Bourges (France), for which she obtained a UNESCO-Aschberg Programme bursary as well as with
Professor Richard Boulanger at the 9th International
Academy of New Composition and Avant-Garde
Audio Art in Seefeld in Tyrol (Austria), in which she
participated as a recipient of the bursary of the
KulturKontakt Society in Austria.
The composer’s fundamental mean of expression is
electro-acoustic music, including both fixed recording
of two- or multi-channel compositions and »real-time«
treatment of vocal or instrumental sound installations.
She presented her achievement in this realm on the
compact disc entitled as Welcome to the Dooshaland. The artist is also very fond of chamber music
that allows her a direct contact with performers.
Bojana Šaljič Podešva has won several awards
and recognitions at the composers’ competitions –
Gustav Mahler Composition and 32nd International
Competition of Electro-Acoustic Music and Sonic Art
in Bourges. The composer also presented her works
at several important festivals of contemporary music both at home and abroad as well as at many
other concerts on the international scene. Another
important domain of her work is exploring the
relation of music with other contemporary art forms.
Thus she created music for many Slovenian works
in the field of puppet, dance and drama theatre
as well as film. She was awarded for her creation of
music in the performance Peskar (The Sandman) at
the 2nd Biennial of the Slovenian Puppetry Creators
Institute in Maribor, in 2003 and in the performance
Svetnik Krespel (Councillor Kraspel) at the 3rd Biennial
of the Slovenian Puppetry Creators Institute in Koper, in
2005. She also won a Vesna Award for her Children
from the Petriček Hill soundtrack at the 10th Slovenian
Film Festival in Portorož, in 2007. This year, she was
awarded a bursary of the Berlin University of Arts.
Here is what the composer wrote about her novelty:
»Dear and respected Srečko, your clear words
read today the same way as they read in the past.
Whenever I read your “Call for Revolution”, it puts a
lump in my throat. I don’t like Revolution, I am afraid
of it, I am afraid of the disruptive power of the crowd,
forgetting about its real needs; and that Revolution is
not the way to address them. Way, responsibility and
change are in each and every one of us, in the thousands of our small everyday deeds, which appear to
be unnoticed but nevertheless build the world that
we live in. Therefore I rise from the dust and plead: let
love and ethics lead my actions, without surrender. I
thus join this fight and thank you, Srečko and all the
others, whose actions inspire me.«
Alja Zore (born in 1992) is studying philosophy and
comparative linguistics at the Faculty of Arts in Ljubljana. Since 2012, she is also attending the musical composition classes with Professor Uroš Rojko at
the Academy of Music Ljubljana. This autumn, she
participated in the Axes Music Festival in Krakow,
where she presented her composition. »What the
composition Hrolgrohn meant to me, was catching
the balance between the opposites, searching the
characteristic’s limits of development and escalation, before it turns into its opposite, approaching
this limits and escaping from them. On the one
hand, this process takes place within the musical
elements; in searching of interlacements, in which
the individual lines exist on their own, forming a
uniform texture at the same time; in creating and
curbing of contrasts, before they turn into monotony;
in generating the cuts that should not break the
whole; in wandering between the opposites and
in tracking of the whole at the same time. On the
other hand, it takes place in the entire song (and its
composer); in the form of oscillation between the
self-deliciousness and strangeness, between the
openness and confinement for one’s own and the
other; in the form of a search for a boundary line,
where one convents to another, a boundary line,
on which one’s own obsessions or visions are not
ruthless and imposing, and thus still allow the composition to preserve its individualism and self-deliciousness, « wrote the composer.
After she had finished her studies of musical
composition in the class of Professor Pavel Mihelčič
at the Academy of Music Ljubljana, the composer
Nina Šenk (1982) continued her post-diploma stu­
dies in composition in Dresden under the mentorship
of Professor Lothar Voigtländer and obtained her
master’s degree in the class of Professor
Matthias Pintscher at the University of Music and
Performing Arts in Munich, in 2008. She is a recipient of many awards, including the European Award
for the Best Composition at the Young Euro Classic
Festival for her Concert for Violin and Orchestra, in
2004, the Academy of Music Prešeren Award as
well as the First Prize at the Weimar Spring Festival
for Contemporary Music for her composition Movimento fluido, in 2008. Her works were performed at
several important festivals in Germany (Young Euro
Classic, Kasseler Musiktage, Weimarer Frühjahrstage,
Zepernicker Randspiele, Rheinsberger Pfingstwerkstatt, Heidelberger Frühling), the Ljubljana Summer
Festival, Slowind Festival, Kogoj’s Days, and World
Saxophone Congress, Unicum Festival, Maribor Festival and many other concerts around the world.
She has also performed with various orchestras and
ensembles (Orchestra of the Academy of Music Ljubljana, Slovenian Philharmonic Orchestra, Chamber
String Ensemble of the Slovenian Philharmonic
Orchestra, RTV Slovenia Symphony Orchestra,
Orchestra of the National Theatre in Cottbus, Young
Euro Classic Festival Orchestra, Ensemble Modern,
Ensemble Mosaik, Ensemble United Berlin, Slowind
Wind Quintet, Ensemble Aleph, Altera Veritas, MD7,
Ensemble Concorde and Berlin Chamber Symphony).
In 2006, she was commissioned by the Young
Euro Classic Festival to write a festival anthem
entitled as Navitas, which was performed in two
years at more than 40 concerts around Germany
and China. In the 2008/2009 and 2009/2010
seasons Nina Šenk served as a Resident Composer
of the Orchestra of the National Theatre in Cottbus.
Her composition Twenty in Five was chosen for the
project Where from? Where to? – Myths-Nation-Identities, supported by the three partners – Goethe
Institute in Prague, Ensemble Modern in Frankfurt
and the BHF-BANK Foundation. »The title of the
composition - Twenty in Five - refers to the twenty
years of Slovenia’s independence, depicted in five
scenes. I started the project back in 2011, when
I asked the members of the Slovenian Writers’
Association to participate in it and contribute their
short comments or texts, relating to their views on
the situation in Slovenia. Their response was really
fantastic, so I received a lot of texts from twenty
six different authors and thus used one from each
of them for my composition. I divided them into 5
parts, presenting the different views on Slovenia
– first impressions, facts about the country, artists’
criticism, their current pessimism and prospects
for the future. The reciter - as a central character
and an individual – passes the text directly over to
the listeners, while the ensemble sets the musical
background, opening the space to the speech,
and offering from now and then the Slovenian
identity quotes (folk songs, anthem…); responds to
the texts and the reciter’s moods and finally plays
an active role in transmitting of the spoken word as
a commentator (presenting the crowd, and thus
opposing the individuals or agreeing with them).
The composition’s original international version (the
Slovenian texts were translated into German, English
and Italian) was premiered in December 2012 by
the Ensemble Modern, led by Maestro Peter Eötvös,
at the Contemporary Music Festival Musica Viva
in Munich. In 2013, its repeat performances will be
played in Frankfurt, Warsaw, Riga and Budapest.
The Slovenian premiere will witness its arrangement for a different ensemble and the texts will be
spoken in Slovene, « wrote about her composition
Nina Šenk.
Monika Kartin
Nina Šenk: Twenty in Five za ansambel
in recitatorja (slovenska praizvedba)
Skladba je del projekta z naslovom Od kod? Kam?
– Miti. Narod. Identitete. treh partnerjev: Goethe
Inštituta iz Prage, ansambla za sodobno glasbo
Ensemble Modern ter fundacije BHF-BANK Stiftung.
/ The composition is a part of the project Where
from? Where to? – Myths-Nation-Identities, supported by three partners - Goethe Institute in Prague,
Ensemble Modern and the BHF-BANK Foundation.
Nina Šenk: Twenty in Five
(Dvajset let v petih slikah)
PRVA SLIKA
Začetek
1.
Na plebiscitu smo se z visokim odstotkom izrekli
za samostojnost, a pojem država je v podzavesti
mnogih najbrž še zmeraj nekaj tujega in ne našega.
Je to atavizem preteklosti, ko so bile države, v katerih smo živeli, v resnici tuje? Bi se morali za državotvornost, če z njo nismo bili rojeni, vzgojiti?
(Kajetan Kovič, odlomek iz proznega teksta Jutranji
sprehajalec)
DRUGA SLIKA
Prvi vtis
2.
Kako je pravzaprav? Politično stanje – nepredvidljivo. Socialno stanje – neopisljivo. Kulturno stanje –
nepresenetljivo.
(Mateja Reba)
3.
Pobralo nas bo, pa če bomo brali ali ne – naj nas
potem pobere vsaj z orožjem v rokah, torej s knjigo.
(Matjaž Pikalo)
4.
Za Slovence je med drugimi značilen karantanski
mit, s katerim skušajo nekateri dokazati, da smo
Slovenci hrepeneli po svoji državi že vse od zatona
karantanske države, kar seveda ne drži.
(Tone Peršak)
5.
Knjiga je ogledalo naroda. Knjiga je relief
domovine.
(Ivan Sivec)
6.
Triglavska roža – le še uniformiran domoljubni kič.
(Jože Štucin)
7.
nočem jaz kamna
z vrha trigláva
briga me vaš razgled
nočem jaz pridig
z vaših ekranov
briga me javni red
nočem diplome
iz vaše šole
finte že vse poznam
nočem v skrinje
vaše blaginje
strašno hladno je tam
ne maram čuvajev
vaše palače
ker so klonirani
ne maram igralcev
vaše predstave
ker so maskirani
ljubim le krta
z vašega vrta
ki ga zastrupljate
ljubim le punco
iz depandanse
ki jo sovražite
ljubim jo ljubim
ker je še budna
ko mesto spi
ljubim jo ljubim
ker je begunka
ki z mano beži
...
(Feri Lainšček, iz pesmi Jutro na pločniku)
8.
Slovenija, moja debela, le kako boš preživela
sedem suhih let?
(Fabjan Hafner)
TRETJA SLIKA
Dejstva (začetek in pot), Umetniki (kritika)
9.
Dvajset let samostojnosti. Nimamo samostojne
vojske niti valute – drži,
ne vidimo prihodnosti in v sedanjosti nam gre zmeraj slabše – drži, ampak – smo si vsaj tega sami krivi!
(Andrej Rozman)
10.
Vse gre tako, kot bi šlo samo od sebe, ne pa po
naših predstavah.
(Smiljan Trobiš)
11.
Od svobodnih plemen do naroda hlapcev in kočijažev, skozi lastni jezik do svoje identitete in ponovne
svobode, toda spet na meji hlapčevstva, na meji
asimilacije.
(Novica Novaković)
12.
Ko se privatizira in deli dobičke, se govori v prvi osebi ednine. Ko pa se plačuje posledice plenilskega
kapitalizma, se uporablja množina.
(Matjaž Hanžek)
13.
Ljudje, preveč svobodni ljudje. Da. Izmišljujejo si
mala nasprotovanja, vojne, genocidke, klanja,
kloniranja … in vse to si izmišljujejo za nas, bolno
lačne krokarje, ki umiramo od dolgočasja v cvetoči
civilizaciji. Za nas, male potrčke, ki smo na njihov
najmanjši namig vedno pripravljeni najti mehko
argentinsko govedino, zate, moj ljubi patriarh!, za
nas, slinaste lakajčke, ki smo pripravljeni najti sredi
zime kretsko grozdje, ki vrača spolno moč, zate, moj
kralj! za nas, podhranjene garjaste pse brez hrbtenic, ki smo pripravljeni izdati najboljšega prijatelja,
mu iztrgati jetra, sesekljati peteršiljček, čebulico,
česenček in jih pripraviti v tisočletnem papeškem
avignonskem vinu, zate, moj general! O moj Bog, le
kaj bi bili šele pripravljeni storiti zate?
(Maja Gal Štromar, ALMA AJKA)
ČETRTA SLIKA
Pesimistični pogledi na sedanjost
14.
Samonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamonespremembsamone
(Miha Mazzini)
15.
Proti zahodu drvi star avto. Na kovinski ograji, ki
loči avtocesto od ostalega sveta, posedajo ujede.
Voznik pomisli: Evropa, mi smo tvoje jokajoče miši,
podgane in ježi.
(Sebastijan Pregelj)
16.
Kmalu bo sneg. Spet bomo odkopavali odloženo.
(Gregor Podlogar)
17.
Vrnitev domov
ni vrat in ni več hiše
le kaj mi bo ključ?
(Andraž Polič)
18.
Kompas in duša
kažeta sever:
tu je večni mraz in led.
(Pavel Lužan, iz pesmi Slovenski godot)
19.
vzemi prvo reč ki ti pride pod roke
kamen palico prazno steklenico
vzemi in zamahni
naj ti ne bo žal
nič drugega ti ni več ostalo
(Vinko Möderndorfer, Poziv)
20.
Padla je noč in se ni več pobrala.
(Andrej Morovič)
21.
nikoli ne veš, če je tema
samo odmor ali že konec filma
(Marko Kravos, iz pesmi Pravzaprav)
22.
Stopam ob robu meje, ki je ni, in v mislih prebiva
tvoj obraz. Stopam onkraj tvojega obraza, v mislih
ga prestopam, da prepoznam resnico, ki je v meni,
svetla v morju, od spomina nate.
(Marko Sosič)
PETA SLIKA
Pogledi proti prihodnosti
23.
Ko
noč
brni vse tiše,
tiše,
rastejo,
rastejo hiše,
vse više,
više,
tja
med zvezde,
ki jih srce riše,
riše.
(Tone Dodlek, Srce)
24.
Bili smo pionirji Vzhoda, bodimo
zdaj pionirji Zahoda.
(Boris Pintar)
25.
tu smo, glejte nas, najboljši umi, najustvarjalnejši
umetniki, najprodornejši misleci,
tu smo, svetovni garant preživetja te dežele ...
(Iztok Osojnik, iz pesmi No pasaran)
Larisa Vrhunc: Hitrost razpadanja za dva
rogova in dva tolkalca
Boris A. Novak:
Hitrost razpadanja (Iz zbirke Mojster nespečnosti,
Mladinska knjiga, Ljubljana 1995)
Hitrost razpadanja sveta je strašna.
Hitrejša od razpadanja teles
v prst, prsti v prah, prahu v dah.
Hitrejša od razpadanja besed
v glas, glasu v sled, sledu v led.
Hitrost razpadanja besed je glas.
Hitrost razpadanja teles je čas.
Hitrost razpadanja sveta sem jaz.
Scenska skica: Samo Lapajne
Anton Foerster, glasba / music
Luiza Pesjakova in /and Emmanuel Züngl, besedilo / libretto
Igor Švara, dirigent / conductor
Vito Taufer, režiser / director
Samo Lapajne, scenograf / set designer
Barbara Podlogar, kostumografka / costume designer
Tomaž Turk, oblikovanje maske in frizure / makeup and hair designer
Pascal Mérat, oblikovanje luči / lighting designer
Sanja Nešković Peršin, koreografinja / choreographer
Tatjana Ažman, dramaturginja / dramaturge
Željka Ulčnik Remic, vodja zbora / head of choir
Gregor Traven, koncertni mojster / concert master
Operni solisti, gostujoči solisti, balet, zbor in orkester SNG Opera in balet Ljubljana /
Opera Soloists, Guest Soloists, Ballet Ensemble, Choir and Orchestra of the Slovenian National
Theatre Opera and Ballet Ljubljana
Produkcija / Production:
INFO O PRODAJI VSTOPNIC / INFORMATION ON TICKET SALES
Blagajna SNG Opere in baleta Ljubljana / Box Office of the SNT Opera and Ballet Ljubljana:
Vsak delavnik od 10. do 17. ure / On weekdays from 10.00 am to 5.00 pm
Tel.: +386 (0)1 241 59 59; 241 59 60; (0)31 696 600
E: blagajna@opera.si
Možnost nakupa tudi na spletu na www.opera.si ali www.mojekarte.si. /
Tickets may be purchased online at www.opera.si or www.mojekarte.si.
Gorenjski slavček
Opera v dveh dejanjih
The Nightingale of Gorenjsko
Opera in Two Acts
SREDA, 13. marca, ob 19.30, premiera
SNG Opera in balet Ljubljana
Cena vstopnic: 33, 29, 26, 24, 22, 18, 10 evrov
Wednesday, 13 March, at 7.30 pm, premiere
Slovene National Theatre Opera and Ballet Ljubljana
Tickets: 33, 29, 26, 24, 22, 18, 10 euros
Popusti za premierno predstavo ne veljajo. / Discounts do not apply to premiere performances.
Slovensko Dramatično društvo in slovensko Deželno
gledališče v drugi polovici 19. stoletja nista bili
pomembni le za rast slovenske dramske produkcije,
ampak sta spodbudno vplivali tudi na domačo
glasbeno odrsko ustvarjalnost. Brez njiju si tudi ni
mogoče zamisliti dela skladatelja Antona Foersterja
(1837–1926), Čeha po rodu, ki je prišel v Slovenijo
leta 1867 in tu živel do svoje smrti. Deloval ni samo
v Dramatičnem društvu, bil je tudi regens chori v
ljubljanski Stolnici in učitelj glasbe na raznih šolah,
kot skladatelj pa je ustvaril celo vrsto orkestralnih,
vokalnih in cerkvenih skladb. V zgodovino se
je zapisal predvsem kot avtor prve slovenske
nacionalne opere.
Gorenjski slavček je najprej nastal kot opereta,
in sicer na razpis Dramatičnega društva, ki je
predvideval po dve nagradi za opereto in libreto.
Komisija, ki so jo sestavljali Bedřich Smetana,
Karel Bendl in Ljudevit Prochazka, je prisodila prvo
mesto Foersterju in tako je bil Gorenjski slavček
pod njegovim vodstvom prvič uprizorjen 27. aprila
1872 v Deželnem gledališču. Dvajset let pozneje se
je Foerster odločil preoblikovati opereto v opero.
Libreto Luize Pesjakove je predelal češki libretist
Emmanuel Züngl, Foerster pa je zložil še nekaj
glasbenih točk in nadomestil govorjeno besedilo
z recitativom. Opera je bila prvič uprizorjena 30.
oktobra 1896. Pozneje so Gorenjskega slavčka še
predelovali in dopolnjevali, saj je imela opera po
mnenju poznavalcev nekaj šibkih točk. Vendar pa
je že Smetana v svoji oceni zapisal, da ima delo
svežo melodiko, da je domiselno ter da je vešče
harmonizirano in spretno instrumentirano. »Slavček«
se je vedno znova pojavljal na sporedu ljubljanske
Opere, zadnja postavitev v sezoni 1996/1997 pa
se je oprla predvsem na izvedbo, ki sta jo leta
1953 pripravila dirigent Rado Simoniti in režiser
Osip Šest. Med slovenskimi opernimi deli velja za
najbolj priljubljeno, najbolj odprto, spevno in zaradi
ljudskega duha prijetno za uho in za pogled.
Režiser nove postavitve Gorenjskega slavčka bo
Vito Taufer (1959), režiser številnih izjemnih predstav
v Slovenskem mladinskem gledališču, kjer je
zaposlen, in na odrih drugih slovenskih gledališč.
Njegove predstave so vselej začinjene z veliko
odrske magije, saj jih vedno znova podpisuje
s polnim režiserskim zamahom in domišljenimi
koncepti. Posebno pozornost je vselej namenjal
režiji klasičnih dramskih del, tudi slovenskih, ki
so pod njegovo taktirko zasijala v popolnoma
sveži, drugačni luči. Domači ljubitelji gledališča
ga poznajo kot avtorja marsikatere uspešnice,
njegove predstave pa so tudi stalnica slovenskih
in mednarodnih festivalov po Evropi in drugod. Na
našem odru je režiral Rossinijevega Seviljskega
brivca (1990), Mozartovo opero Cosí fan tutte (1991),
Waltonovega Medveda, Poulencove Tejrezijeve
dojke (2004), Rossinijevega Turka v Italiji (2005)
in opero Zaljubljen v tri oranže Sergeja Prokofjeva
(2006).
Z zgodbo slovenske operne klasike o Franju, ki se
vrne v idilični gorenjski domači kraj, kjer ga čaka
njegovo dekle Minka, ki jo zabavljaški Chansonette,
potem ko jo je slišal peti, namerava odpeljati v
svet, njegovim načrtom pa se ob rob postavi vsa
vas, režiser Vito Taufer razkriva neizogibno in večno
usodo Slovencev. Bolj občutljivemu ušesu in očesu
se namreč po njegovem mnenju pod površino
lahkotnosti, topline in prisrčnosti ponujajo nič manj
zabavne, hkrati pa toliko bolj zavezujoče aktualne
vsebine. Mrak in tragika življenja, obsojenega na
provincialno samozadovoljno domačijskost, sta z
ikonografijo predstave, v kateri se režiser izogne
tudi vsakemu nasilnemu folklorizmu, le blago
aktualizirana oziroma brezčasna, se pa po drugi
strani toliko bolj posveti podrobni karakterizaciji
oseb. Seveda ni pozabil niti na vprašanja o libretu in
glasbi, kaj je torej v libretu odveč in je bilo dodano
iz obskurnih razlogov in kaj je bilo spet iz nekakšnih
iracionalnih razlogov izpuščeno, pa bi bilo to treba
poiskati in vrniti na svoje mesto, če naj bi potek
zgodbe spet dobil prvotni smisel in smisel nasploh.
In the second half of the 19th century the Slovenian
Dramatic Society and Slovenian Provincial Theatre
were not only important for the development of the
Slovenian drama production, but also stimulated
the domestic musical theatre production. Without
them, it would be difficult to even imagine the
works, conceived by the composer Anton Foerster
(1837–1926), who although Czech by origin, came
to Slovenia in 1867 and stayed here until his death.
He was not only active in the Dramatic Society, but
also served as a Regens Chori in the capital’s Cathedral and as a Music Teacher in various schools
as well as composed a number of orchestral, vocal
and church compositions. He became famous as
an author of the first Slovenian operatic piece. The
Nightingale of Gorenjsko was initially conceived as
an operetta, which was tendered by the Dramatic
Society and offered two awards for both operetta
and libretto. The Commission made up of Bedřich
Smetana, Karel Bendl and Ludevit Prochazka
awarded the First Prize to Foerster and thus The
Nightingale of Gorenjsko was first performed under
his leadership at the Provincial Theatre, on 27th April
1872. Twenty years later Foerster decided to rewrite
his operetta into opera. The libretto, initially made
by Luiza Pesjak, was rewritten by Czech librettist
Emmanuel Züngl, whereas Foerster composed an
additional number of musical acts and recitatives
to replace the spoken text. The opera was first
staged on 30th October 1896. Subsequently The
Nightingale of Gorenjsko was remade and
complemented several times, as the opera
apparently – at least according to connoisseurs –
had some weaknesses. But even Smetana wrote in
his revue, that the opera has »a fresh melody« and
that it is »thoughtfully and skilfully harmonised, as
well as artfully instrumented«.
»The Nightingale« reappeared in the repertoire
of the Ljubljana Opera time and again, and its
last staging in the 1996/1997 season was primarily
based on the performance, prepared by the Conductor Rado Simoniti and the Stage Director Osip
Šest, in 1953. It is considered one of the most popular Slovenian operatic works mainly for its openness,
melodiousness and its folk spirit, making it pleasant
to both eyes and ears.
The new production of The Nightingale of Gorenjsko
will be staged by Vito Taufer (1959), the director of
many outstanding performances as at the Mladinsko Theatre, where he is permanently employed,
as well as on many other Slovenian stages. His
performances are always spiced with a great deal
of theatrical magic, as he signs them, time and
again, in full artistic swing and accomplished director’s concepts. He has been always dedicating his
utmost attention to the direction of classical theatre
pieces and among them Slovenian as well, which
he presents in a fresh and entirely different light.
He is famous among national theatre lovers for his
numerous theatre hits as his performances are regularly appearing both at Slovenian and international
festivals all over Europe and around the world.
He has already directed for the Ljubljana Opera
Theatre Rossini’s Barber of Seville (1990), Mozart’s
opera Cosí fan tutte (1991), Walton’s opera The Bear,
Poulence’s The Breasts of Tiresias (2004), Rossini’s
The Turk in Italy (2005) and Prokofjev’s In Love With
the Three Oranges (2006).
Using the story of the Slovenian operatic classics,
which tells about Franjo, who returns to his idyllic
hometown in Gorenjsko, where he is eagerly
expected by his girlfriend Minka, whom the
entertaining Chansonette, when he hears her
singing, immediately decides to take to the world
and whose plans are thwarted by the entire village,
the director Vito Taufer unveils the inevitable and
eternal destiny of the Slovenians.
A more sensitive eye and ear, at least as far as
he is concerned, is offered - under the surface of
lightness, cosiness and cuteness – a no less entertaining but at the same time much more binding
and topical content. Through the performance’s
iconography, in which the director avoids any
violent folklorism as well, darkness and tragedy of
life, doomed to provincial, complacent intimacy
are only slightly actualized or even timeless. On the
other hand, he dedicates himself all the more to
the detailed characterisation of persons. Neither
does he, of course, forget about the issues of libretto
and music or all that was redundant and added to
the libretto for obscure reasons and again all that
was omitted from it on some irrational grounds, and
would need to be found and returned to its place,
if the story was to regain its original meaning or its
meaning in general at all.
Aleksandar Spasić, Steven Loy*, dirigenta / conductors
Orkester Slovenske filharmonije
Fotografija: Janez Kotar
Boris Cavazza, recitator / reciter
Na sporedu / Programme
Luigi Verdi: Quattro immagini za orkester , krstna izvedba
Four Images for Orchestra, First Performance
Allegretto
Agitato
Moderato
Animato
Risto Savin: Čajna punčka, odlomki iz baleta / Tea Doll, Fragments from the Ballet
....
Introdukcija / Introduction
Pierrot
Pierrette
Lemur (duh umrlega) / Lemire (Spirit of the Deceased)
Veliki lemur / The Grand Lemire
Pri lemurih / At the Lemurides
Snidenje / Reunion
Smrtna obsodba / Death Sentence
Jani Golob: Ko bom tih in dober (2013), Pet pesmi Ivana Minattija za igralca in simfonični
orkester, krstna izvedba / When I Will be Quiet and Good (2013), Five Poems
by Ivan Minatti for Actor and Symphonic Orchestra, First Performance
Motto
Stolp / Tower
Znamenja / Signs
Pod zaprtimi vekami / Uner the Closed Eyelids
Ko bom tih in dober / When I will be Quiet and Good
Steven Loy: Tathātā*
Orkester Slovenske
filharmonije
Slovenian Philharmonic
Orchestra
ČETRTEK, 14. marca, ob 19.30
Slovenska filharmonija
Cena vstopnic: 15 evrov
Thursday, 14 March, at 7.30 pm
Slovenian Philharmonic
Tickets: 15 euros
V sodelovanju z /
In cooperation with:
Luigi Verdi je bil rojen v Rimu in pozneje je na
Konservatoriju v Bologni in na Konservatoriju v
Pesaru študiral kompozicijo in dirigiranje. Diplomiral
je tudi iz filozofije na Univerzi v Bologni. Zdaj je
profesor za kompozicijo na Akademiji svete Cecilije
v Rimu, bil pa je tudi gostujoči profesor na Univerzi
v Marylandu v Združenih državah Amerike. Njegov
kompozicijski opus obsega komorna in orkestralna
dela, ki jih izvajajo na festivalih in številnih koncertih,
kot muzikolog pa veliko piše znanstvena dela in
monografske eseje. Zlasti je odmeval njegov zapis
o Skrjabinovi umetnosti in tudi zato je Verdi častni
član Skrjabinovega društva, ki deluje v Ameriki.
Vsestranski umetnik in znanstvenik se aktivno ukvarja
z dirigiranjem zborovske in orkestralne literature.
Že od leta 2001 sodeluje na Slovenskih glasbenih
dnevih, temu festivalu je skladatelj tudi posvetil svoje
delo Quattro immagini, Štiri podobe za orkester.
Kot trenutni posnetek vzbudi vsaka posamezna
zvočna slika tega štiristavčnega cikla nekakšno
vizualno podobo, ki se približuje športni tematiki.
Toda zunanja vsebina ni bistvena, je bolj podlaga
kompozicijskemu namenu, kjer vse figure rastejo
iz enega akorda in gradijo celotni ciklus. Akord
počiva v istrski lestvici, uporabljali so ga že slovenski
skladatelji, kot sta bila Danilo Švara in Karol Pahor.
Prva podoba (Allegretto) namiguje na namizni
tenis, druga podoba (Agitato) vzbuja občutke ob
jadralni regati na razburkanem morju. Tretja podoba
(Moderato) nas spominja na drsanje po ledu ob
valčkovi temi. Četrta (Animato) pa upodablja tekmo
na stadionu. Navijači spodbujajo svoje ljubljence,
igralci se bojujejo za žogo in jo porivajo proti golu,
gledalci navijajo in pri tem uporabljajo vuvuzele.
»Izbral sem poezijo iz cikla Ko bom tih in dober
slovenskega pesnika Ivana Minattija, ki mi je s
svojo subtilno vsebino in slogovno popolnostjo
predstavljala tudi zgledno ravnovesje med vsebino
in obliko. Z najglobljim spoštovanjem do pesnika
in do njegovih pesmi sem iskal odzven poezije v
glasbi. Da bi ohranil poezijo kot govorjeno besedo,
pesmi nisem uglasbil, z glasbo sem hotel poustvariti
občutja, ki mi jih vzbujajo pesmi velikega pesnika,«
je zapisal skladatelj o svoji novosti.
Risto Savin (pravo ime Friderik Širca) se je rodil 11.
julija 1859 kot zadnji otrok v trgovski družini v Žalcu.
Glasbeno se je izobraževal v Pragi in na Dunaju, kjer
je zasebno študiral kompozicijo. Očetova trgovina
je propadla, zato se je moral mladenič zaposliti
in postal je poklicni častnik in general avstrijske
vojske v Osijeku, Sarajevu in na Dunaju. Najprej se
je zapisal romantičnemu slogu, pozneje so se ga
dotaknile novoromantika in nekatere značilnosti
prihajajočega impresionizma, ni pa mogel niti mimo
Richarda Wagnerja. Na skladatelja je pomembno
vplivalo slovensko in jugoslovansko folklorno
izročilo, saj je bil tudi v razmišljanju in nazorih
navdušen občudovalec panslavizma. Ob vsem
naštetem ga je pozneje močno zaznamoval tudi
Slavko Osterc, s katerim je intenzivno prijateljeval
skoraj dvajset let.
Risto Savin resda ni bil poklicni glasbenik, vendar
je bil kot ustvarjalec pomemben skladatelj na
prehodu v slovensko glasbeno moderno, najboljša
dela pa je prispeval na področju samospeva in
opere. Pisal je vse od leta 1891 do pozne starosti in
poleg že omenjenih samospevov in oper prispeval
v slovensko glasbeno zakladnico tudi komorna,
klavirska, zborovska in orkestralna dela, ki so zajeta
v več kot 48 opusih.
Umrl je 11. decembra 1948 v Zagrebu, pokopan pa
je v Žalcu.
Baletno delo Čajna punčka je nastalo leta 1922,
skladatelj pa jo poimenuje mimična igra v
enem dejanju. Nocoj bomo prisluhnili nekaterim
odlomkom iz tega ljubeznivega dela.
Steven Loy, ameriški dirigent in skladatelj, je že
vrsto let dejaven pri projektih, povezanih s sodobno
glasbo v Sloveniji. Odlikujejo ga natančne in
poglobljene izvedbe sodobnih skladb, rad pa
spodbuja tudi skladatelje pri ustvarjanju novih del in
sodeluje z njimi. Od leta 2005 do 2012 je bil stalni
dirigent ansambla MD7, s katerim je izvedel več kot
trideset skladb, ki so bile napisane za ta ansambel.
Večkrat je sodeloval s pihalnim kvintetom Slowind
in ansamblom Slavko Osterc. Dirigiral je veliko
pomembnih del literature 20. stoletja, med
katere spadajo dela skladateljev, kot so Grisey,
Murail, Nono, Lachenmann, Dalbavie, Reich,
Ferneyhough idr. Njegova dejavnost je zapisana
na treh zgoščenkah, ki jih je posnel z ansamblom
MD7, in na zgoščenki, posvečeni ustvarjalnosti
slovenskega skladatelja Božidarja Kosa. Leta 2010
je bil umetniški vodja cikla Predihano v organizaciji
Cankarjevega doma, ki je bil posvečen sodobni
glasbi.
Nastopil je tudi z večjimi orkestri, kot so Orkester
Slovenske filharmonije, orkester Savaria Symphony
(Szombathely) in orkester Miskolc Symphony na
Madžarskem, z orkestroma Braşov Philharmonic in
Mihail Jora Philharmonic v Bacauu v Romuniji ter z
mladinskimi orkestri v Združenih državah Amerike in
na Poljskem.
Svojo glasbeno pot je začel v Ameriki, diplomiral
je iz kompozicije pri Josephu Castaldu na Univerzi
umetnosti v Filadelfiji. Nato se je preselil v Evropo,
kjer je študiral dirigiranje, in sicer najprej v
Budimpešti, potem v Parizu. Aktivno je sodeloval na
mojstrskih tečajih, ki so jih vodili svetovno priznani
dirigenti, kot so Péter Eötvös, Zoltán Peskó, Jurij
Simonov, Jean-Marc Burfin, Jorma Panula, Helmuth
Rilling in drugi. Leta 2002 je prejel diplomo s
posebno pohvalo na akademiji Chiggiana v Sieni,
kjer je mojstrski tečaj vodil Lothar Zagrosek.
Steven Loy pravi o svoji skladbi tako:
»Tathātā, v slovenščini ponavadi prevedeno ‘kot
tak’, je osrednji koncept v budizmu, predvsem v
zenbudizmu. Navadno se najbolje izrazi v stvareh,
ki so posvetne in na videz nepomembne, na
primer opazovanje vetra, ki vzvalovi visoko travo,
ali pa, kako človeku zažari obraz v smehljaju.
Zenovska hagiografija pravi, da je Buda Šakjamuni
Jani Golob (1948) je diplomiral iz violine in
kompozicije na ljubljanski Akademiji za glasbo.
Več let je igral violino kot član Simfoničnega
orkestra RTV Slovenija, pozneje je bil urednik
uredništva za resno glasbo in balet na nacionalni
televiziji. Zdaj poučuje kompozicijo in glasbeno
teorijo na Akademiji za glasbo v Ljubljani. Med
njegovimi deli so tri opere, pet baletov, trije koncerti
in glasba za film in gledališče … Je dobitnik
pomembnejših slovenskih nagrad, kot sta nagrada
Prešernovega sklada in Župančičeva nagrada.
Golob je član Evropske akademije znanosti in
umetnosti v Salzburgu.
posredoval zavedanje o tathāti neposredno
svojemu najbližjemu učencu prek dogodka,
ki je postal znan pod imenom Pridiga o roži in
predstavlja čistost neposredne komunikacije. V
drugi zgodbi je Šakjamuni vprašal svoje učence:
Kako dolgo je človeško življenje? Ker mu nihče ni
znal odgovoriti, je rekel: Življenje je le dih.
V tem delu sem želel raziskati to ‘takost’, ki je lastna
najpreprostejšemu zvočnemu gradivu: samotna,
hrepeneča kretnja, nežen, valu podoben dvig
in padec zvoka, nasilno udarjanje med dvema
zelo podobnima frekvencama, celotno vesolje
izkušnje, ki ga vsebuje en sam podaljšan ton.
Glasbeni diskurz med temi elementi črpa iz mojega
nedavnega raziskovanja francoske ‘spektralne’
glasbe in uporablja številne tehnike, ki so jih uvedli
prav skladatelji, povezani s tem gibanjem: frekvenčne
modulacije, razvojni proces in orkestrska sinteza. Dve
izmed najbolj osnovnih in prelepih konstant, ki jih
najdemo v naravi – zlati rez in alikvotni toni – sta prav v
temeljih formalne zgradbe in harmonije te skladbe, ki
je zato trdno zasidrana v naravi.
Lepota in veličina narave, ki nas obkrožata, je
tudi najpomembnejša tema v budizmu. Ko so
ljudje spraševali različne zenovske učitelje, kaj
zen sploh je, so ti odgovarjali s prispodobami iz
okolja: bambusov gozd, modro nebo nad visoko
goro. S tem so želeli povedati, da so odgovori, ki
jih pogosto iščemo zunaj sveta, kot ga razumemo,
pogosto prav pred našimi očmi in jih lahko
ugledamo kadarkoli, če se odločimo za to. Zenovski
učitelj Thich Nhat Hanh je zapisal: Ljudje ponavadi
mislijo, da je hoja po vodi ali po zraku čudež. Jaz
pa mislim, da je pravi čudež, če kdo hodi po zemlji.
Vsak dan smo del čudeža, ki ga niti ne opazimo:
modro nebo, beli oblaki, zeleno listje, radovedne
temne otroške oči – naše oči. Vse je čudež.«
Monika Kartin
Luigi Verdi was born in Rome and studied composition and conducting at the Conservatories in Bologna and Pesaro. He also graduated in philosophy
at the University of Bologna. He is now a Professor
of Composition at the Maryland University in the
United States of America. His compositional oeuvre
includes chamber and orchestral works, performed
at numerous festivals and concerts. He is also quite
an active musicologist as well, writing an enviable
number of scientific works and monographic
essays. Especially notable was his written record on
Skryabin’s art, particularly due to the fact that he is
an Honorary Member of the Skryabin’s Society of
America. The versatile artist and scientist is actively
engaged in conducting of choral and orchestral
literature. He has been already participating in the
Slovenian Music Days since 2001, therefore he
dedicated to the festival his work Quattro immagini,
Four Images for Orchestra. Similarly to a snapshot,
every single sound image of this four movement
cycle evokes a kind of visual image, closely related
to the sports theme. However, the external content is
not essential as it serves more as a basis for compositional purposes, whereas all the figures grow from
one chord, thus building a complete cycle. The
chord, resting in the Istrian scale, was already used
by the Slovenian composers - Danilo Švara and
Karol Pahor. The first sound image (Allegretto) hints
at the table tennis, the second (Agitato) arouses
the feelings of a sailing regatta in turbulent seas.
The third sound image (Moderato) reminds of the
ice skating to the waltz theme and the fourth one
depicts the match on stadium. The fans are encouraging their favourites, the players are fighting for the
ball and pushing it towards the goal, the spectators
are cheering, using vuvuzelas.
Risto Savin (his real name was Friderik Širca) was
born on 11th July 1859 as the last child of a merchant
family in Žalec. He received his musical education
in Prague and Vienna, where he originally studied
composition. Since his father’s store went broke, the
young man had to get himself a job, so he became
a career Officer and General of the Austrian Army
in Osijek, Sarajevo and Vienna. At first the composer
was true to the Romantic style but later on became
enthused with the new Romanticism, some of the
characteristics of the upcoming Impressionism and
of course with the influences of Richard Wagner
that were impossible to escape as well. He was
also significantly determined by the Slovenian and
Yugoslav folk tradition and thus, according to his
thoughts and views, became an enthusiastic admirer of Pan-Slavism. Later on, Risto Savin was greatly
influenced by the composer Slavko Osterc as well,
with whom he was closely befriended for almost
twenty years. Despite the fact that Savin was not a
professional musician, he was an important composer, who marked the period of transition to the
Slovenian musical modernism, contributing his best
works in the realm of solo song and opera. Since
he wrote from as early as 1891 until his old age, he
also enriched the Slovenian musical treasure trove beside the mentioned solo songs and operas - with
the chamber, piano, choral and orchestral work,
encompassed in more than 48 oeuvres. Risto Savin
died on 11th December 1948 in Zagreb and was
buried in Žalec. His ballet Čajna punčka (The Tea
Doll) was created in 1922. The composer referred to
it as »a mimic play in one act«. Tonight we will hear
some of the passages from this amiable work.
Jani Golob (1948) graduated in violin and composition at the Academy of Music Ljubljana. For
many years he played violin as a member of the
RTV Slovenia Symphony Orchestra and served as an
Editor of the Editorial Department for Classical Music
and Ballet on the Slovenian National Television. He is
now a Professor of Composition and Music Theory at
the Academy of Music Ljubljana. His oeuvre includes
three operas, five ballets, three concerts and music
for film and theatre. Jani Golob is a winner of several
important Slovenian awards, including the Prešeren
Fund Award and Župančič Award. The composer
is also a member of the European Academy of Art
and Science in Salzburg. »I chose poetry from the
cycle Ko bom tih in dober (When I will be Quiet and
Good) by the Slovenian poet Ivan Minatti, in whose
subtle content and stylistic perfection I managed to
find an exemplary balance between content and
form. Feeling the deepest respect for the poet and
his poesy, I was looking for his lyrics’ reflection in the
music. In order to preserve the poetry as a spoken
word, I refused to set the poem to the music. My aim
was simply to reproduce with the music the emotions
that this great master’s poems arouse in me, « wrote
the composer about his novelty.
The American conductor and composer Steven
Loy has been active for many years within the
projects related to contemporary music in Slovenia.
Widely recognised for his disciplined and insightful
performances of contemporary music, he has also
earned a reputation as a committed collaborator
and advocate for modern composers and their new
music pieces. As the Conductor of the Slovenian
Ensemble MD7 from 2005 to 2012, he premiered
more than thirty new works, composed especially
for the ensemble. He has worked frequently with the
Slowind Quintet and Slavko Osterc Ensemble, lea­
ding numerous significant 20th century works, inclu­
ding pieces by Grisey, Murail, Nono, Lachenmann,
Dalbavie, Reich, Ferneyhough, etc. Equally active
in the recording studio, he has presented his work
on several compact discs, including the three he
has recorded with the MD7 Ensemble and a portrait
compact disc of music by the Slovenian composer
Božidar Kos. In 2010, he was a Principal Conductor
of the contemporary music series Predihano, orga­
nised by Cankarjev dom. In the realm of symphonic
music he has conducted concerts with the Slovenian
Philharmonic Orchestra, the Savaria Symphony
(Szombathely) and Miskolc Symphony in Hungary
as well as the Braşov Philharmonic and Mihail Jora
Philharmonic in Bacau, in Romania. He has also led
youth orchestras in the United States and Poland.
Steven Loy began his musical career in America,
where he graduated in composition with Joseph
Castaldo at the University of Arts in Philadelphia.
Then he moved to Europe to continue his education
in conducting in Budapest and later in Paris. He
has actively participated in master classes with world
renowned conductors - Péter Eötvös, Zoltán Peskó, Yuri
Simonov, Jean-Marc Burfin, Jorma Panula, Helmuth
Rilling and other. In 2002, he earned the Diploma di
Merito at the Academia Musicale Chigana in Siena,
Italy where he studied with Lothar Zagrosek.
Steven Loy contemplates about his composition as
follows: »Tathātā, usually translated as »suchness« or
»thusness«, is a central concept in Buddhism, particularly Zen Buddhism. It is often best revealed in things
that are seemingly mundane or meaningless, such
as noticing the way the wind blows through a field of
tall grass, or watching someone’s face light up as they
smile. According to Zen hagiography, Shakyamuni
Buddha transmitted the awareness of Tathāta directly
to his closest disciple Mahakasyapa in an episode
that has come to be known as the Flower Sermon
and embodies the purity of direct communication. In
another story, Shakyamuni asked his disciples: “How
long is a human life?” As none of them could offer the
correct answer he told them: “Life is but a breath”.
In writing this piece I wanted to explore the
»suchness« inherent to the simplest possible sonic
materials: a solitary, wistful gesture, the violent
beating that is produced between two very similar
frequencies, the gentle wave-like rise and fall of a
sound, an entire universe of experience contained
in a single sustained note. The musical discourse
between these elements is informed by recent studies I had made into French »spectral« music and
employs many of the techniques, pioneered by the
composers associated with that movement such as:
frequency modulation, evolutionary process and
orchestral synthesis. Two of the most fundamental
and perfectly beautiful constants found in nature –
the Golden Ratio and the Harmonic Series – underpin the work’s construction, grounding it firmly in the
natural world. The beauty and the importance of
nature that surrounds us is also a key theme in Buddhism. When the people asked different Zen masters about Zen and its essence, they answered using
the parables from their environment - a bamboo
forest or a blue sky over the high mountain … What
they meant is that the answers we are generally
looking for outside the world we understand, are
often right before our eyes and we can see them at
any time, if only we decide to do so. The Zen master
Thich Nhat Hanh wrote: “People usually consider
walking on water or in thin air a miracle. But I think
the real miracle is to walk on earth. Every day we
are engaged in a miracle, which we don’t even
recognise: a blue sky, white clouds, green leaves,
the black curious eyes of a child – or our own two
eyes. All is a miracle.”
Monika Kartin
Jani Golob: Ko bom tih in dober (2013), Pet
pesmi Ivana Minattija za igralca in simfonični orkester
Kje je še kdo v tem
čudnem času
med nočjo in dnevom?
vpiješ in veš,
ne prikličeš glasu
Stolp
Goli zidovi Gole rôke
Razbijam Lomim Kričim
Votla krogla Razdalje določene
Hodim si mislim tečem –
v resnici stojim
Začaran stolp Začarani hodniki
Vsak naposled privede nazaj
In ti ne več in ne doumeš:
je to začetek ali kraj
Znamenja
Stojim na razvalinah
nečesa neizrekljivo lepega –
kaj je že to bilo?
in prekladam razmetane klade.
Iščem, ne vem več, kaj.
In ničesar vam nimam povedati
in ničesar mi nimate povedati,
česar že ne bi bilo v teh kamnih.
Kaj je že to bilo?
Pozabljena je govorica
praproti in voda,
tihe skrivnostne besede,
s katerimi se sporazumevajo
ptice in veje,
korenine in prst.
Pogovarjamo se v šifrah,
za katere smo izgubili ključ.
Čas bo spet iz koordinat
neba in zemlje
izluščiti nekaj prastarih preprostih resnic,
ki jih poznajo mravlje in mah.
Nekoč so tod mimo
plule vesele bele ladje.
Stojim na razvalinah
nečesa neizrekljivo lepega –
kamnita soha,
popisana z nerazumljivimi znaki,
ki jih ne znamo prebrati,
ki jih ne znam prebrati.
Pod zaprtimi vekami
Padati globoko
globoko
v vse bolj modro tišino
Ničesar čuti
ničesar videti
samo pod zaprtimi vekami
reko spominov
na neke stare
vijugaste ulice
na neke stare
vegaste plotove in hiše
na neke davne
pozabljene igre
na neke pradavne
čase in kraje
Padati globoko
globoko
Ničesar vedeti
ničesar čutiti
Biti le ptica
na zeleni strehi vetra
biti samo mravlja
v oceanu trave
biti samo kaplja
v srcu reke
Padati
s polnimi usti krika
Ko bom tih in dober
Rad jih imam
molčeča okna
s cestami in hrepenenjem
pod pol zaprtimi oknicami
rad jih imam
steze ki z drobnimi stopinjami
drže do samotnih dreves
staro samotno drevo
rad jih imam
daljne zvonove nad zamišljenim barjem
in otožne ptice v ločju
rad vas imam
tihe drobne stvari
Nihče te mi ne vzame
mehki zeleni pogled trav
nihče
mali rdeči čudež ciklame
nihče
topla dišeča julijska prst
ki te odsotno pretakam med prsti
vse bolj bom tvoj –
ko bom tih in dober
Tudi jaz
trava med travami
drevo med drevesi
bom stal z razprostrtimi rokami
in objemal
zvezde oblake in ptice
in se pogovarjal s tabo zemlja
dolgo dolgo
takrat ko bom tih in dober
tudi jaz
Simfonični orkester RTV Slovenija
SIMFONIČNI ORKESTER RTV SLOVENIJA / THE RTV SLOVENIA SYNPHONY ORCHESTRA
Simon Dvoršak, dirigent / conductor
Andreja Zakonjšek Krt, sopran / soprano
Irma Mihelič, sopran / soprano
Tim Ribič, tenor / tenor
Žiga Kasagić, tenor / tenor
Na sporedu / Programme
Miroslav Vilhar: Jamska Ivanka / Ivanka of the Jama Castle
Uvertura / Overture
Pesem ljubezni, arija Miroslava / Love Song, Miroslav’s Aria
Benjamin Ipavec: Tičnik / Birdcage
Uvod / Introduction
Samospev Blaža/ Blaž’s Song
O Ljuboslava, duet Blaža in Ljuboslave /
Oh, Ljuboslava, the Duet of Blaž and Ljuboslava
Viktor Parma: Amaconke / Amazons
Uvertura / Overture
Hrabroslav Otmar Vogrič: Moč uniforme / Power of a Uniform
No! Taka sem taka ..., arija Lize /
Well! That’s the Way I am, Liza’s Aria
Na svetu vendar je lepo, duet Lize in Mileka /
It is Still a Beautiful World, the Duet of Liza and Milek
Chonchon; Materin blagoslov /
Chonchon; Mather’s Blessing
Uvertura / Overture
Ko domovja svoja draga tla, tercet Marije,
Chonchon in Pierrota /
My Dear, Native Soil, the Trio of Marija,
Chochon and Pierrot
Sklepni koncert 28. Slovenskih glasbenih dni
CLOSING CONCERT OF THE 28th MUSIC DAYS
Večer operetnih melodij
AN Evening of Operetta Melodies
PETEK, 15. marca, ob 19.30
Slovenska filharmonija
Cena vstopnic: 15 evrov
Friday, 15 March, at 7.30 pm
Slovenian Philharmonic
Tickets: 15 euros
Radovan Gobec: Hmeljska princesa / The Hop Princess
Pesem o poljubu, duet Darinke in Branka /
A Song About a Kiss, the Duet of Darinka and Branko
Hmeljska princesa, duet / The Hop Princess, Duet
....
Janko Gregorc: Erika
Če naenkrat lahko imela bi, duet Ive in Erike /
If Only I Could Have it All, Duet
Matija Bravničar: Stoji, stoji Ljubljanca / And Still the Ljubljanica Stands
English Waltz
Slowfox
Tango
Marjan Kozina: Majda
Ti si moj diamant, duet Špelce in Žana /
You are my Diamond, the Duet of Špelca and Žan
Radovan Gobec: Planinska roža / The Mountain Flower
Ti si moja cvetka, duet Katje in Dobrovika /
You are my Flower, the Duet of Katja and Dobrovik
Pod njenim oknom sem ..., sklep I. dejanja /
I am Standing Under her Window, First Act Finale
Pavel Rasberger: Zaroka na Jadranu / Engagement on the Adriatic
Na Jadranu sinjem, arija Ivana / On the Blue Adriatic, Ivan’s Aria
Kvartet Jasne, Zlate, Ivana in Dušana, Finale I /
The Quartet of Jasna, Zlata, Ivan and Dušan, First Act Finale
Janko Gregorc: Melodije srca / Melodies of the Heart
Melodija srca, arija Silve / Melodies of the Heart, Silva’s Aria
Davno je že vstvarjen ta svet ..., arija Marjana /
This World was Created a Long Time Ago ..., Marjan’s Aria
Zveni najlepša bajna melodija, Finaletto III /
The Most Beautiful, Fabulous Melody, Finaletto III
V sodelovanju z /
In cooperation with:
Leta 1871 so ljubljanskemu čitalniškemu občinstvu
predstavili »izvirno domorodno igro s pesmami«
Jamska Ivanka Miroslava Vilharja (1919–1871).
Besedilo, ki obravnava zgodbo iz obdobja križarskih
vojn, je napisal skladatelj sam, glasbeno spremljavo k
petju je pred krstno izvedbo instrumentiral Jurij Schantl.
Iz spevoigre Jamska Ivanka bomo slišali uverturo.
Že pet let pred Jamsko Ivanko so v Ljubljani
prvič izvedli spevoigro Tičnik Benjamina Ipavca
(1829–1908), najuglednejšega predstavnika znane
slovenske glasbene družine. Besedilo za igro je
napisal Mihael Lendovšek, glasbene točke pa
je skladatelju instrumentiral Josef Fabian. Gre za
eno od različic zgodbe o zaljubljenem starcu in
prefriganem dekletu, ki na koncu seveda uveljavi
svojo voljo. Slišali bomo uvod, samospev in duet.
Na besedilo Antona Dolleczka je Viktor Parma
(1858–1924) leta 1903 napisal svojo prvo opereto
Radovan Gobec (1909–1995) je s petimi zelo
melodioznimi operetami oziroma spevoigrami
znatno obogatil tista poglavja slovenske glasbene
literature, ki jih imajo zelo rade ljubiteljske gledališke
skupine. Hmeljsko princeso so prvič izvedli leta 1933
v Žalcu.
Janko Gregorc (1905–1989) je s trinajstimi
operetami gotovo naš najplodovitejši operetni
ustvarjalec. Prva je bila leta 1932 izvedena Erika na
besedilo Maksa Simončiča. Ob krstu je skladatelj
zapisal: »Moja Erika je seveda poizkus, skromen
poizkus v najboljši veri, da se bom v bodočnosti
poboljšal, dasi nimam nič kaj visokih ambicij, ker
mi najbolj leži takale lahka glasba. Naj občinstvo
presodi, kako je Erika uspela!« Slišali bomo duet.
Ob napovedi krstne predstave odrsko glasbenega
dela Stoji, stoji Ljubljanca Matije Bravničarja
(1897–1977) so v časniku Slovenski narod zapisali: »To
ni opereta po svojem značaju, kar tudi ne more biti,
ker opereta ni satira. Stoji, stoji Ljubljanca je satirična
revija, vsebuje veliko več glasbe kot opereta in njen
značaj je v splošnem satiričen, je nekakšna klofuta
opereti, groteska, ki biča, kar biča tudi libreto …«
Slišali bomo odlomke Angleški valček, Slowfox in
Tango.
Opereto Majda Marjana Kozine (1907–1966)
so prvič izvedli maja 1935 na Radiu Ljubljana,
novembra istega leta pa tudi na odru mariborske
Opere. Avtor besedila po Knafljičevi igri je Ferdo
Delak. Kozina je ob premieri izjavil, da »se je
držal operetnega stila. Ta glasba je popolnoma
neproblematična, vesela, lahka, poskočna, v stilu
jazzne operete.«
Amaconke. Priljubljeno delo je doživelo še
veliko izvedb. Tudi kritiki so ga ob krstu nadvse
pohvalili, o uverturi pa je eden od ocenjevalcev
zapisal: »Takoj uvertura zveni jako značilno za vso
opereto: uglasbena je v živem, razposajenem
tonu, spominjajoča na salonsko plesno godbo.«
Na sporedu našega koncerta je uvertura. Parma
je bil nekaj let daleč najbolj priljubljen slovenski
skladatelj, predvsem po uspehu, ki ga je doživljala
njegova opera Ksenija.
Danes popolnoma pozabljeni skladatelj, organist,
zborovodja in dirigent Andrej Hrabroslav Otmar
Vogrič (1873–1932) je avtor kar sedmih operet. Moč
uniforme na besedilo Jaka Štoke je iz leta 1909. Po
treh vokalno-instrumentalnih točkah operete bomo
slišali še uverturo. Gotovo bo nadvse zanimivo
prisluhniti melodijam tega povsem spregledanega
skladatelja.
Štiri leta po Hmeljski princesi so z nič manjšim
uspehom izvedli Gobčevo opereto Planinska roža.
Slišali bomo enega od duetov in sklepni prizor
prvega dejanja.
Iz operete Zaroka na Jadranu (1939) vsestranskega
gledališčnika Pavla Rasbergerja (1882–1967),
ki je deloval pretežno v Mariboru, bomo slišali
arijo in finale prvega dejanja. Deloma se dogaja
na Jadranu, deloma na Gorenjskem. Povsem
nezahtevno delo je ob krstu doživelo prodoren uspeh.
Melodije srca Janka Gregorca so nastale med
drugo svetovno vojno. S tridesetimi ponovitvami
so bile nepričakovano uspešne. Libretist Hinko
Stepančič je ustvaril učinkovit libreto, ki ga je kar
mojstrsko in ušesom všečno uglasbil Janko Gregorc.
Kljub operetam nenaklonjenim razmeram so
Melodije srca uprizorili še po vojni. Slišali bomo dve
ariji in tretji finale.
Simon Dvoršak je kot dirigent vodil več ljubiteljskih
simfoničnih orkestrov. Sodeluje s Slovensko
filharmonijo, Simfoničnim orkestrom RTV Slovenija
in Orkestrom Opere v Mariboru. Kot specializant
za glasbeno gledališče se je izpopolnjeval v tujini.
Uveljavlja se tudi kot pedagog in je od leta 2011
asistent za orkestrsko dirigiranje na ljubljanski
Akademiji za glasbo.
Andreja Zakonjšek Krt je solistka mariborske Opere
z izjemno širokim repertoarjem od skrajno lirskih
vlog do dramatičnih. Dejavna je tudi kot koncertna
pevka.
Irena Mihelič po študiju v Gradcu nastopa kot
koncertna in operna pevka predvsem v Avstriji.
Slišali so jo tudi v drugih zahodnoevropskih
glasbenih središčih pa tudi pri nas.
Žiga Kasagić je doma iz Ljubljane in ima zavidljivo
kariero. Veliko nastopa, tudi v velikih opernih
vlogah, predvsem v Italiji. Lepe uspehe je dosegel
tudi na pevskih tekmovanjih.
Tim Ribič je petje študiral v Gradcu, za seboj ima
vrsto nastopov, tudi na opernem odru, pri nas in v
Avstriji.
Peter Bedjanič
In 1871, »an original indigenous play with songs«
Jamska Ivanka (Ivanka of the Jama Castle) was
presented to the Ljubljana Reading Public by
Miroslav Vilhar (1919-1871). The libretto, dealing with
a story from the period of Crusades, was written
by the composer himself, whereas the musical accompaniment to singing was instrumented before
the work’s premiere by Jurij Schantl. This time we will
hear the operetta’s overture.
The operetta Tičnik (Birdcage) by Benjamin Ipavec
(1829-1908), the most distinguished representative
of a well-known Slovenian family of musicians,
was first performed in Ljubljana five years before
Vilhar’s Ivanka. The libretto for this work was written
by Mihael Lendovšek, whereas the musical acts
were instrumented by Josef Fabian. It presents one
of the versions of the story of an old man in love
with a canning girl, who - of course - finds a way to
enforce her will. We will hear this piece’s overture, a
solo song and a duet.
In 1903, Viktor Parma (1858-1924) wrote his first
operetta Amaconke (Amazons) to a libretto by
Anton Dolleczek. This popular piece was later
restaged many times. It was already praised by
the critics at its premiere as well, as one of the
reviewers wrote about its overture: »The overture
already sounds typical for the entire operetta - set to
music in a live and boisterous tone, it reminds of the
lounge dance music. Our programme features the
operetta’s overture. For a few years, Parma was by
far the most popular Slovenian composer, especially after the great success of his opera Ksenija.
The Composer, Organist and Choir Leader Andrej
Hrabroslav Otmar Vogrič (1873-1932), whose name
is almost completely forgotten today, is an author of
seven operettas. The operetta Moč uniforme (The
Power of a Uniform) to the libretto by Jaka Štoka,
was premiered in 1909. Tonight we will first hear its
three vocal-instrumental parts and then the overture. It will be by all means quite intriguing to listen
to the melodies of this overlooked composer.
With his five melodious operettas or musical
comedies, Radovan Gobec (1909-1995), was by
all means the composer, who has significantly
enriched the chapters of the Slovenian music
literature, which remain an important part of the
repertoire of the amateur theatre groups. His operetta Hmeljska princesa (The Hop Princess) was
premiered in Žalec, in 1933.
His thirteen operettas certainly put Janko Gregorc
(1905-1989) among one of our most prolific operatic artists. The first of his operettas Erika to the
libretto by Maks Simončič was staged in 1932. At
its premiere the author wrote: »My Erika of course
presents an attempt, a modest attempt in good
faith that I will improve myself in future, albeit I do
not have any high ambitions, as it is exactly this kind
of light music that is in my line. Let the audience be
judge of Eirka’s success! « We will hear one of the
Erika’s duets.
At the announcement of the world premiere of the
stage and musical work Stoji, stoji Ljubljanica (And
Still the Ljubljanica Stands) by Matija Bravničar
(1897-1977) the newspaper Slovenski narod wrote:
»This is not an operetta by its nature, which it can’t
be, because operetta is not a satire. Stoji, stoji
Ljubljanca (And Still the Ljubljanica Stands) is a satirical show, since it contains much more music than
operetta and its character is generally satirical, it is
a kind of a slap to operetta, a grotesque that whips,
as well as whips the libretto …«. Tonight we will hear
the fragments English Waltz, Slowfox and Tango.
The operetta Majda by Marjan Kozina (1907-1966)
was premiered in May 1935 on Radio Ljubljana and
in November of the same year on the stage of the
Maribor Opera. The libretto, based on Knafljič’s play
was written by Ferdo Delak. Ont its premiere Kozina
said that »he had stuck to the operatic style. This
music is completely unproblematic, joyful, easy,
lively – a kind of jazz operetta.»
Four years after the Hop Princess the operetta
Planinska roža (The Mountain Flower) by Radovan
Gobec was performed with similar success. We will
hear one of its duets as well as the final scene of its
first act.
From the operetta Zaroka na Jadranu (Engagement
on the Adriatic) (1939) by the versatile theatre artist
Pavel Rasberger (1882-1967), who worked mainly
in Maribor, we will hear an aria and the finale of
the first act. The action takes place partly on the
Adriatic and partly in Gorenjska. The premiere of
this unpretentious work was a great success.
Melodije srca (Melodies of the Heart) by
Janko Gregorc were created during the Second
World War. Quite unexpectedly repeated for more
than thirty times, they became a huge success.
While Hinko Stepančič wrote an effective libretto,
both masterful and ear-pleasing setting to music
was contributed by Janko Gregorc. Despite the
times unfavourable to operetta, the Melodies were
performed after the war as well. We will hear two
arias and the third finale.
Simon Dvoršak has led several amateur symphony orchestras. He has been performing with the
Slovenian Philharmonic Orchestra, RTV Slovenia
Symphony Orchestra and the SNT Maribor Symphony Orchestra. The artist has specialised in musical
theatre abroad. Lately, he has been also asserting
himself as a Pedagogue, serving as an Assistant
Professor of for Orchestral Conducting at the
Academy of Music Ljubljana, since 2011.
Andreja Zakonjšek Krt is a soloist of the Slovenian
National Opera Theatre in Maribor, boasting a wide
repertoire that spans from extremely lyrical to
dramatic roles. She is also active as a concert
singer.
Since she completed her studies in Graz,
Irena Mihelič has been performing as a concert
and opera singer in Austria. She has also appeared
in front of the audiences of other Western European
musical centres as well as in Slovenia.
A native of Ljubljana, Žiga Kasagić, already boasts
an enviable singing career. He has had quite a
number of appearences and sung even in leading
opera roles, mainly in Italy. He has achieved some
excellent results, participating in the singing competitions as well.
Tim Ribič, who has studied singing in Graz, boasts a
number of important appearences on concert and
opera stages in Slovenia and Austria.
Peter Bedjanič
Mednarodni muzikološki
simpozij
International Musicological
Symposium
Viteška dvorana, Križanke,
od 12. do 14. marca
Križanke, Knight’s Hall,
from 12 to 14 March
Tema / Theme: Glasba in /za/ oder / Music and /for/ the Stage
usical Narrative in the 19th Century Opera
Tatjana Marković: M
Glasbena pripoved v operi 19. stoletja
Katarzyna Szymańska Stułka: “Theater of Sounds” Concept in Music
“Gledališče zvoka” koncept v glasbi
Helena Spurná: Emil František Burian´s Opera “Maryša”
and the Janáčkian Context
Opera Maryša Emila Františka Buriana
in Janáčkovo sobesedilo
SREDA, 13. marca, ob 9.00 / WednesdaY, 13 March, at 9.00 am
Vodja / Chairman: Ivan Florjanc
Vodja simpozija / Head of Symposium: prof. dr. Primož Kuret
Helmut Loos: A
usgewählte Wagner-Inszenierungen
Izbrane Wagnerjeve uprizoritve
Wagner’s Selected Staging
Torek, 12. marca, ob 9.00 / Tuesday, 12 March, at 9.00 am
Luba Kijanovska: D
as ukrainische Musiktheater “Koryphäen” - Kulturphänomen
eines staatenlosen Volkes
Veličine ukrajinskega glasbenega gledališča – kulturni
fenomen ljudstva brez države
The Greatness of the Ukrainian Musical Theatre – Cultural
Phenomenon of the People Without a State
Pozdravni nagovor / Welcome Speech: prof. dr. Primož Kuret
Vodja / Chairman: Peter Andraschke
Borut Smrekar: O operi / On Opera
Slavoj Žižek: T he Portrait of a Russian Gay Gentleman, or,
the Mistery of a Superfluous Act Two
Portret ruskega homoseksualca ali misterij
odvečnega drugega dejanja
Jernej Weiss: Č
eški dirigenti v Slovenskem deželnem
gledališču na prelomu iz 19. stoletja v 20.
Czech Conductors in the Slovenian Provincial Theatre
at the Turn of the 19th to the 20th Century
Peter Andraschke: B
ild-Szene-Musik, Stravinski »The Rake’s progress«
Slika-scena-glasba, Stravinski »The Rake’s Progress«
Image-Scene-Music, Stravinski “The Rake’s Progress”
Gabriele Jonté: Stage Fright – über die Angst des Musikers vor dem Auftritt
Stage Fright – O glasbenikovem strahu pred nastopom
Stage Fright – On the Musician’s Anxiety before a Performance
Špela Lah: F enomen operete na odru ljubljanskega gledališča do 1914
The Phenomenon of Operetta on the Ljubljana Theatre Stage till 1914
Michael Walter: Nationalmusic in der Ost- und Südosteuropäischen
Oper in 19. Jahrhundert
Ljudska glasba v vzhodno - jugovzhodnoevropski operi 19. stoletja
Folk Music in the East and South - East European Opera of the
19th Century
Ob 14.00 / 2.00 pm
Ob 14.00 / 2.00 pm
Vodja / Chairman: Andrej Misson
Vodja / Chairman: Helmut Loos
Luigi Verdi: T he Music of Franz Liszt in the Movies
Glasba Franza Liszta na filmu
Niall O’Loughlin: D
ramatic and Musical Conflicts in Kogoj’s Črne maske
Dramski in glasbeni konflikti v Kogojevih Črnih maskah
Srđan Atanasovski: S taging Yugoslav Primordial Modernism: Cvijeta Zuzorić
Open Opera Competition and Logar’s Sablazan u dolini
šentflorjanskoj (The Scandal in the St. Florian Valley)
Uprizoritev temeljnega dela jugoslovanskega modernizma:
Odprto operno tekmovanje Cvijete Zuzorić in Logarjevo
Pohujšanje v dolini Šentflorjanski.
Ivan Florjanc: Monteverdijev Orfej (meta - sporočilnost libreta in glasbe)
Monteverdi’s Orpheus (meta - comunication of the libretto and music)
Suzana Ograjenšek: Z vesti pastir Guarinija (1590) in Händla (1712):
pastorala na opernem odru poznega baroka
The Faithful Shepherd by Guarini (1590) and Handel (1712):
Pastorale on the Late-Baroque Opera Stage
Četrtek, 14. marca, ob 9.00 / Thursday, 14 March, at 9.00 am
Vodja / Chairman: Jernej Weiss
Andrej Misson: Glasba v zadnjih uprizoritvah Škofjeloškega pasijona
Music in Recent Stagings of the Škofja Loka Passion Play
Matjaž Barbo: P
resto, presto, al noto loco: Glasbenogledališko
ustvarjanje F. J. B. Dusíka
Presto, presto, al noto loco: Music and Theatre
Creativity of F. J. B. Dusík
Igor Grdina: N
ediskretni šarm operete / The Indiscrette Charm of Operetta
11.00–12.00
Predstavitev Muzikološkega Zbornika Friderik Širca –
Risto Savin (1859-1948): med Slovenijo in svetom
in knjige prof. dr. Petra Zimmermanna Generalmajor Friderik
Širca: vojaška biografija
Presentation of the Musicological Annual Friderik Širca – Risto
Savin (1859-1948): Between Slovenia and the Wider World
and the book by Prof. Dr. Peter Zimmermann, Major-General
Friderik Širca: a Military Biography
Sodelujejo / Participants:
Janko Kos, župan občine Žalec / Mayor of the Municipality of Žalec,
dr. Peter Zimmermann, dr. Suzana Ograjenšek, dr. Jernej Weiss
in / and dr. Primož Kuret
Odprto za javnost / Open to the public
Glasbeni delavnici za otroke
Music workshops for children
Glasbena matica, Lajovčeva dvorana,
petek, 15. marca, ob 10.30 in 11.30
Glasbena matica Music Society, Lajovic Hall,
Friday, 15 March, at 10.30 and 11.30 am
Izbrana tema / Selected theme: Čudoviti svet opere / A Wonderful World of Opera
Mentorici / Mentors: Irena Yebuah Tiran, Katja Konvalinka
Aktivni udeleženci / Active Participants: otroci osnovne šole Bežigrad in Zalog
Children from Primary School Bežigrad and Zalog
Festival Ljubljana vsako leto med Slovenskimi glasbenimi dnevi pripravi glasbene delavnice za otroke. Letos
se mu pri tem pridružuje Glasbena matica Ljubljana. Tema letošnjega znanstvenega simpozija je Glasba
in /za/ oder, zato smo tudi za otroke izbrali primerno vsebino. Glasbena delavnica bo namenjena tistim, ki
želijo prijazno in ustvarjalno vstopiti v čudoviti svet opere. Predstavili jo bomo s Humperdinckovo pravljično
opero Janko in Metka. V delavnici bodo otroci spoznavali, kaj je opera, kdo sodeluje pri njenem nastanku,
kaj je libreto in kaj partitura, kateri glasbeniki v operi nastopajo in kako se pripravi predstava. Spoznali
bodo tudi glasbila, igrali na Orffove instrumente in plesali. Naučili se bodo pesmico iz opere Janko in Metka
Bratec moj, roke mi daj. Otroci bodo izvajali ritmične in dihalne vaje, razvijali ritmični in melodični posluh
ter samostojno glasbeno in gibalno ustvarjali. Delavnico bosta vodili umetnici, ki sta nastopili v več opernih
produkcijah, Katja Konvalinka pa je opero tudi že režirala.
Katja Konvalinka
Every year, the Ljubljana Festival organizes within the Slovenian Music Days various workshops for children.
This year it will be joined by the Glasbena matica Music Society Ljubljana. This year’s scientific symposium’s
theme is »Music and /for/ the Stage«; therefore an adequate content has been chosen for children as well.
Since the music workshop will be designed for the children, wishing to embrace the Wonderful World of
Opera, we will present them Humpredinck’s fairy-tale opera Hansel and Gretel. The young workshop participants will thus have a wonderful opportunity to find out what the opera is, who is involved in its creation,
what is libretto and score, what kind of musicians perform in an opera and how the opera performance is
prepared. They will also be able to get acquainted with the musical instruments, play on Orff’s instruments
and dance. In addition, the youngsters will learn to sing a song from the opera Hansel and Gretel ”Little
Boy, Come Dance with me”. The participants of this workshop will also perform rhythmic and breathing
exercises, develop rhythmic and melodic ear and create music and movement on their own. The workshop
will be led by the young artists, who have already appeared in a number of opera productions, while Katja
Konvalinka has already tried herself at directing of one of her own opera productions.
Katja Konvalinka
Delavnica traja 60 minut. / The workshop lasts 60 minutes.
Odprto za javnost / Open to the public
V sodelovanju z / In cooperation with:
FESTIVAL LJUBLJANA
Trg francoske revolucije 1
1000 Ljubljana, Slovenija
Tel: + 386 (0)1 241 60 00, 241 60 06, F: + 386 (0)1 241 60 37
E: info@ljubljanafestival.si
www.ljubljanafestival.si
Darko Brlek
Umetniški vodja in direktor Festivala Ljubljana ter predsednik Evropskega združenja festivalov /
General and Artistic Director of the Ljubljana Festival and President of the European Festivals Association
Odnosi z javnostmi / Public Relations: Hermina Kovačič
Tel.: + 386 (0) 1 241 60 16; hermina.kovacic@ljubljanafestival.si
PRODAJA VSTOPNIC / TICKET SALES:
Blagajna Križank / Box Office at Križanke
Tel.: + 386 (0)1 241 60 26, 241 60 28, Faks: +386 (0)1 241 60 35
E: blagajna@ljubljanafestival.si
Do 31. 3.: vsak delavnik od 12. do 17. ure ter uro pred začetkom na prizorišču. / Till 31. 3.: On weekdays from
noon to 5.00 pm, tickets are also available at the venue one hour before the beginning of each performance.
In na drugih prodajnih mestih Eventima po Sloveniji vključno z www.eventim.si ter na www.ljubljanafestival.si. /
Available also at Eventim sales locations, including www.eventim.si and www.ljubljanafestival.si.
Dvajsetodstotni popust za dijake, študente, upokojence in skupine nad trideset oseb ob predložitvi
ustreznega dokazila pri blagajni Križank. Popust ne velja za opero Gorenjski slavček. / We offer a 20 %
discount to pupils, students and pensioners as well as to the groups of thirty people and more upon
submission of the evidence of identity at the Križanke Box Office. Discount does not apply to the opera The
Nightingale of Gorenjsko.
Izdal / Published by: FESTIVAL LJUBLJANA
Zanj / For the Publisher: Darko Brlek, umetniški vodja in direktor Festivala Ljubljana /
General andArtistic Director of the Ljubljana Festival
Besedila / Texts: Monika Kartin, Peter Bedjanič, Katja Konvalinka
Prevod / Translation: Nataša Jelić
Jezikovni pregled / Editing: Nataša Simončič
Foto / Photo: Janez Kotar, arhiv Festivala Ljubljana / The Ljubljana Festival Archive
Oblikovanje / Design: Luna\TBWA
Tisk / Printing: Tiskarna Klar, d. o. o.
Izvodov / Number of Copies: 1000
Marec 2013 / March 2013
FESTIVAL LJUBLJANA SI PRIDRŽUJE PRAVICO DO SPREMEMB V PROGRAMU IN PRIZORIŠČ.
THE LJUBLJANA FESTIVAL RESERVES THE RIGHT TO ALTER THE PROGRAMME AND VENUES.
Medijski sponzorji / Media Sponsors:
Uradni prevoznik / Official Carrier:
Železniški prevoznik / Official Railway:
Letalski prevoznik / Official Airline:
Uradna penina / Official sparkling wine: